Module Code and Title : GENGD301-BASIC GRAPHIC DESIGN

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 Learning outcome 1: Edit photos with Adobe Photoshop.

Learning outcome 1. Edit photos with Adobe Photoshop

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IC1: Introduction to Photoshop
 Definition: Adobe Photoshop is a graphics editing program, or
image editing software, that allows you to create and
manipulate visual images on the computer.
 Use of Interface elements:
o Selecting Menus
The Menu Bar

Along the very top of Photoshop's interface is the Menu Bar. The Menu
Bar is where we find various options and commands, all grouped into
categories. The File menu, for example, holds options for opening,
saving and closing documents. The Layer menu lists options for
working with layers. Photoshop's many filters are found under the
Filter menu, and so on.

o Arranging panels
Panel Groups

To save space on the screen, Adobe groups related panels together. For
example, let's look at the Layers panel. Just like the Document window,
each panel has a tab at the top which displays the panel's name.
Notice, though, that there are two other tabs to the right of the Layers
tab. One says Channels and the other says Paths. These are other
panels that are nested in with the Layers panel in the same panel
group. The name of the panel that's currently open in the group (in this
case, the Layers panel) appears brighter than the others:

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 o Selecting and customizing the tool bar
The Toolbar

The Toolbar (also known as the Toolbox or the Tools panel) is where
Photoshop holds all of its tools. You'll find it along the left of Photoshop's
interface. There are tools for making selections, for editing and
retouching images, for painting, adding type or shapes to your
document, and more:

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Step1: Basic Tools

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Photoshop tools

I will be going over the Basic Tools you will need to know to get started
on Photoshop.

Move Tool:
This tool can be used to move items around

Marquee Tool:
This tool can be used to make selections. There are four different types
which are:

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Rectangular - This will make a Rectangular selection
Elliptical - This will make a Elliptical selection
Single Column - This will make a Column selection
Single Row - This will make a Row selection

Lasso:
This tool can also be used to make selections. There are three different
types which are:
Lasso - This can make free hand selection
Polygonal Lasso - This will make selection with lines
Magnetic Lasso - This will make selection by shaping onto objects.

Quick Selection:
This tool can be used to make selection of objects by painting on them
with an adjustable brush.

Crop:
This tool can be used to trim images.

Eraser:
This tool can be used to erase pixels of an image.

Brush Tool:
Paints a brush stroke.

Pencil Tool:
Paints are hard-edge stroke.

Gradient:
This tool can be used to make a straight-line, radial, angle, reflected, and
diamond blends between colors.

Paint Bucket:

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Fills similar colored areas with the foreground color

Pen:
This tool can be used to create smooth-edged paths. You can use the
Freeform Pen to create paths freehanded.

Type Tool:
This tools creates a text box which can be used to type text into.

Shape Tools:
These tools can be used to create shapes. There are six different types
of shape tools which are: Rectangle
Rounded Rectangle
Ellipse
Polygon
Line
Custom Shape

Hand:
This tool can be used to move an image within the window.

Zoom:
Zoom in and out.
Step 3: Layers, Groups and Guides

Layers are what they say there are, Layers. Layers are very useful in
Photoshop. Each layer is an individual which means you can edit it
without editing any of the other layers.

Create New Layer. To create a new layer go into 'Layer > New > Layer'
or by click the box with folded corner at the bottom right hand corner of
the window.

Locking Layers. Layers can be locked which means that they can't be
edited until you unlock it. There are three different types of Locks.

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• Lock Transparent Pixels - This will make the pixels you erase black
instead of getting rid of them.
• Lock Image Pixels - This will mean you can't change the pixels into
anything such as coloring it in.
• Lock Position - This will mean you are not able to move the image.
• The last one will lock everything which means you will not be able to edit
it at all.
• Hiding Layer. Layer can be hid by press the 'Eye' icon next to the layer.
Click it again and the layer will be visible again.

• Layer Style. This are some setting that can be changes to make the layer
look different. To open the layer style window just double click the layer
which will open a new window. Some things you can do are:
• Opacity - Change the opacity of the layer.
• Stroke - Put an outline on the layer.
• Inner Shadow - Puts a shadow inside the layer which give it an effect of it
is going inside.
• Inner Glow - Put a glow on the inside.
• Color Overlay - Put a color on top of the layer.
• Gradient Overlay - Put a gradient on top of the layer.
• Pattern Overlay - Put a pattern on top of the layer.
• Outer Glow - Put a glow outside the layer.
• Drop Shadow - Put a shadow underneath the layer which gives the effect
of it floating.

Groups: Groups are used to organize your layer. You can create a group
by clicking on the folder button at the button right hand corner of the
window.

Guides-Guides are very useful. To make a new guide go to 'View > New
Guide'. This will bring up a new window. You can choose whether the
guide is vertical or horizontal. Then write where it is. I recommend you
use '%'. I suggest when you start a new project you make two guides, one
vertical at 50% and the other horizontal at 50%.

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Photoshop Tools Summary

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The Options Bar: The options bar is a context sensitive panel. Which is
to say, that it changes depending on which tool is selected in the tool bar.
It provides access the most important configuration settings for a
particular tool. For example, in fig 1.7 the options bar has changed to
provide the attributes associated with the Move tool. We have the show
transform controls and a range of alignment options, which are faded in
appearance, because in this case, no layer was highlighted in the layers
panel.

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 o Using undo command and history panel

Choose Edit > Undo or use the keyboard shortcut Control + Z (Win) /
Command + Z (Mac).
...
How do I switch back to the legacy undo shortcuts?

1. From the menu bar, choose Edit > Keyboards Shortcuts.

2. In the Keyboard Shortcuts and Menus dialog, select Use Legacy Undo
Shortcuts and click OK.

3. Restart Photoshop.

4. Use the Undo or Redo commands

Updated in Photoshop CC 20.0 (October 2018 release)

Beginning with the October 2018 release of Photoshop CC (20.0), you
can undo multiple steps in your Photoshop document using Control + Z
(Win) / Command + Z (Mac). This new multiple undo mode is enabled by
default.
To perform undo or redo operation, do the following:
• Undo: Moves one step back in the undo chain. Choose Edit > Undo or use
the keyboard shortcut Control + Z (Win) / Command + Z (Mac).
• Redo: Moves one step forward. Choose Edit > Redo or use the keyboard
shortcut Shift + Control + Z (Win) / Shift + Command + Z (Mac).
The Edit menu also displays the name of the step that will be undone
next to the Undo and Redo commands. For example, Edit > Undo Edit
Type.

o Using ruler and setting guides

Working with Rulers

o Command + R (Mac) | Control + R (Win) quickly displays
rulers along the top and left sides of a document.

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 o To quickly change the ruler’s unit of measurement, Control
-click (Mac) | right -click (Win) within the ruler area to select
from the context sensitive menu.

o To display the Units & Rulers preferences, double click in

the ruler area.

o To change the Ruler’s point of origin (the zero point of the

rulers), click and drag the box in the upper left corner of the
rulers (where they meet) and reposition. Double clicking at
the intersection of the rulers resets the point of origin to the
upper left corner of the open document.

o In order to quickly find the center of an image, set the rulers

to percentage and drag out guides to the 50% marks (you
can also use View > New guide but I find dragging faster).

Working with Guides

o To place a single guide at a specific location in a documents,

choose View > New Guide. To enter a value that is different
than the current units of measurement, type the value and
then the unit (px, in, cm, mm, pt, pica, %).

o To add a guide using the rulers, click in the ruler area, and
drag the guide into the document. Option drag (Mac) | Alt -
drag (Win) from the ruler to toggle the orientation of the
guide (vertical to horizontal).

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 o To add multiple guides at one time, choose View > New
Guide Layout. Not only can you enter the number of
Columns and Rows that you need, but you can also choose
the Width or Height, Gutter, Margins and whether or not to
Center the Columns. To reuse the guides in multiple images,
save the guide options as a preset using the drop-down
menu. Here are some examples of the guides you can create:

Specific Columns Width and Rows with Gutter defined.

Guide Margin defined.

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Centered Columns with numeric Width defined.
o To create a guides based on a shape, choose View > New
Guide from Shape. And you’re not limited to only shape
layers, you can create Guides from Type layers and pixel
based layers! As you can see from the examples below, the
Guides are created based on the bounding box around the
contents of the layer.

Guides created around Shape Layer.

Guides created around the contents of pixel layer.

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 Guides created from a Type Layer.
o To reposition a guide using the Move tool, position the Move
tool directly on top of the guide. When the icon changes to a
double headed arrow, click and drag to reposition the guide.

o Shift-drag a guide to snap it to the ruler tic marks. Note, this

shortcut works even when “snap to” is off (View / Snap To…).

o Drag a guide outside of the image area to quickly delete it.

o Command +; (Mac) | Control +; (Win) toggles the visibility of

guides.

o Command + Option + “;” (Mac) | Control + Alt + “;” (Win)

locks/unlocks guides (View > Lock Guides). When changing
image size of a document, unlock the guides to resize the
guides proportionally. Lock them if you need to keep exact
numeric values.

o Guides (and paths) can be difficult to see on high resolution

monitors because they are anti-aliased. To make them
appear thicker, select Preferences > Performance. In the
Graphics Processor Settings, click Advanced Settings and
uncheck Anti-alias Guides and Paths. Note: you won’t see
the change until you click OK in both the Advanced
Graphics Processor Settings and close the Preferences.

o Using keyboard shortcuts

Using a keyboard shortcut

1. Quit Photoshop.

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2. Hold down the following keyboard shortcut and launch Photoshop:
macOS
command + option + shift
Windows
ctrl + alt + shift
Open Photoshop.
Click Yes in the dialog that asks "Delete the Adobe Photoshop Settings
file?"

Photoshop Keyboard Shortcuts: Move Tools

• Zoom Tool - Hit the letter “Z” on your keyboard
• Zoom Out - Hold the Alt/Option key
• Fit to Screen - Command/Ctrl + 0
• Hand Tool - Move around the image while zoomed in - Hold the
spacebar
• Rotate Your Image - Hit the letter “R” on your keyboard, then click
and drag your mouse
• Rotate in 15 degree increments - Make sure your rotate tool (R) is
selected + hold shift and drag your mouse

Photoshop Keyboard Shortcuts: General Tips & Shortcuts

• Unlock your background layer - Double click your background
layer and hit the “enter” key or simply click on the lock icon on your
background layer.
• Rulers - Command/Ctrl + R
• Create Guides - Click and drag from the rulers while they are visible.
This works both on the vertical and horizontal axis
• Hide/Show Guides - Command/Ctrl + H
• Undo - Command/Ctrl + Z (quick tip: use this keyboard shortcut over
and over again to toggle your last history state)
• Multiple Undos - Command/Ctrl + Alt/Opt + Z
• Gradient Tool - Hit the letter “G” on your keyboard

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 • Gradient Tool with straight gradient - While the gradient tool is
selected, hold “Shift” then click and drag
• Crop Tool - Hit the letter “C” on your keyboard (Quick Tip: make
sure to uncheck “Delete cropped pixels”)
• Access Photoshop Tool subsets - Hold the shift key, then press the
keyboard shortcut for the tool you are trying to access. Doing so
multiple times will let you toggle between the sets of tools available
in any given panel. For example hitting the letter “J” on your
keyboard would let you healing brush tool. If you hold the shift key
+ hit the letter “J” on your keyboard, you will cycle all of the healing
brush tool subsets. The helpful shortcut works for all of the tools in
the tool panel that have more than one tool available.
• Quick Tip: Hover of the tools panel to reveal the keyboard shortcut
for the tool your hovering over

Photoshop Keyboard Shortcuts: Brush Tool

• Brush - Hit the letter “B” on your keyboard
• Make brush tool bigger - Hit the ] key on your keyboard (right
bracket key)
• Make brush tool smaller - Hit the [ key on your keyboard (left
bracket key)
• Brush Resize (PC) - Right Click + Alt + Drag left or right
• Brush Softness (PC) - Right Click + Alt + Drag up or down
• Brush Resize (Mac) - Command + Option + Drag left or right
• Brush Softness (Mac) - Command + Option + Drag up or down
• Brush settings - Simply right click while you have the brush tool
selected. Hit the “enter” key to exit this panel
• Sample colors while using the brush tool - Hold the Option/Alt key
to temporarily switch to the eye dropper tool
Photoshop Keyboard Shortcuts: Color
• Eyedropper Tool - Hit the letter “I” on your keyboard
• Toggle Foreground/Background Color - Hit the letter “X” key on
your keyboard Default Colors - Hit the letter “D” on your
keyboard

Photoshop Keyboard Shortcuts: Selection Tools

• Magic Wand Tool - Hit the letter “W” on your keyboard
• Add to Selection - Hold Shift key while using a selection tool
• Marquee Selection Tool - Hit the letter “M” on your keyboard
• Deselect - Command/Ctrl + D
• Lasso Tool - Hit the letter “L” on your keyboard
• Pen Tool - Hit the letter “P” on your keyboard
• Load Pen Path Selection - Once you have a closed path, hit
Command/Ctrl + Enter to load the selection

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 • Create Bezier Curve - With the pen tool selected (letter P) click to
add an anchor point, then click and drag to add another

Photoshop Keyboard Shortcuts: Retouching Tools

 Healing Brush Tool - Hit the letter “J” on your keyboard
 Toggle between Healing Brush Subsets - Hold Shift + hit the letter
“J” on your keyboard
 Healing Brush samp
 le point - Hold Option/Alt, then click to choose a sample point
 Clone Stamp Tool - Hit the letter “S” on your keyboard
 Clone Stamp Tool sample point - Hold Option/Alt, then click to
choose a sample point
 Manage workplace

Photoshop lays out the most important tools that you will need right on the
main workspace. This allows you to easily find the tools that you need
without digging through menus. Furthermore, Photoshop allows users to
use simple keyboard shortcuts in order to get to these tools faster.
 Tool Bar – Provides access to a variety of tools with multiple
image-editing functions.
o These tools typically fall under the categories of
drawing; painting; measuring and navigation; selection;
typing; and retouching.
o Some tools contain a small triangle in the
bottom right corner of the tool icon; these tools can be
expanded to reveal similar tools.

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  Options Bar – Works in coordination with your tool bar to
provide additional settings for the tool you’re currently using.
o The options bar changes according to
whichever tool you are using.
 Menu Bar – Contains menus for performing common tasks
o Consists of eleven menu options: File; Edit; Image; Layer;
Type; Select; Filter; 3D; View; Window; Help
o Menu items containing an ellipsis indicate that
a dialogue box will follow that option.
o Menu items with an arrow indicate a submenu
for that particular option.
 Panels/Palettes - Helps you monitor and modify your work
o Provides groups of functionality specific to
certain tools or tasks.
o You can create a custom workspace by moving
and manipulating panels.

 CREATION OF AN IMAGE DOCUMENT

Opening an Image Before you can start manipulating a visual image, you
will need to either open an existing document or create a new one.

 Select Open… from the File menu in the top menu bar. (Ctrl + O)

 Navigate to image location on your computer. Select the file and click
Open

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When you open an existing file, Photoshop will put that file into a new
document panel on your screen

Image Size

When working on an image in Photoshop you must first properly size the
image, depending on the media discipline you are using. This is specifically
important due to images varying for Web and Print use. Larger images on a
website will actually slow the site down, making it difficult for your viewer to
see the content. Larger images are used for print in order to ensure that
detail of your visual image is present.

 To resize an image, select Image Size... from Image in the top menu. (Ctrl
+ Alt + I)  *Set your Resolution according to your media discipline*

o for Web set this to 72

o for Print set this to 300

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 It is important that you understand your media size when setting your
height and width. For web, you always want to ensure that your image will
be viewable on any or most screens.

Color Mode

It is very important to establish your color modes based on the media

discipline you are using. Each media output (computer screen, printer, etc.)
interprets colors differently, so it is important to be able to set your color
mode for the output to understand it.

To change the color mode go to Image in the top menu and select Mode.

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 RGB
o RGB stands for “Red, Green, Blue”
 These are the three colors on electronic devices (computers,

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 phones, tv, etc.) and therefore used for anything displayed on the screen
o Additive color mode
 Red, Green, and Blue add up to make White
 CMYK
o CMYK stands for “Cyan, Magenta, Yellow, Key”
 Key is black
 These are the four inks in a standard printer and therefore
used for any print materials (photographs, papers, posters, etc.)
o Subtractive color mode
 Cyan, Magenta, and Yellow add up to make Black (but not
the true “Key” black)
 PERFOMING DOCUMENT PRESET
WHAT ARE PHOTOSHOP PRESETS? Presets are a collection of

edits that are recorded as a batch and can be applied to an image (or
multiple images) with just one click.

 IMPORT PHOTO
 USING LAPLACE

2 Method 2 of 2: Place an Image in Photoshop

1. Open Photoshop. It's the app that has a blue square that says "Ps" in the
middle.
2. Open an image or Photoshop file. You can either open an existing Photoshop
file, image, or create a new Photoshop file.
3. Click File. ...
4. Click Place. ...
5. Navigate to select an image. ...
6. Click Place.
 BY DRAGGING
Inserting images in Photoshop via drag and drop
Open Photoshop and drag a photo from the Explorer or from your
desktop onto the Photoshop user interface. Once you release the left
mouse button, the image is opened as a new document.
 USING IMPORTATION WORKFLOW
Importation workflow: Used to import file from the original directory to any
Retouching software
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  SAVE PHOTOSHOP PROJECT

Saving Your Work When you need to save your work you will go to the File
menu and choose Save or Save As. Save: If the file has been saved
previously, the file will be updated. If the document has not been previously
saved you will see the same dialogue box as if you had pressed Save As.
Save As: This command brings up a dialogue box (fig 2.6) where you can
name the file, choose the properties that you wish to be included in the file
and also choose the file format. File Formats When you click on the Format
drop down menu in the “Save As” dialogue box (fig 2.6) you will notice that
Photoshop allows you to save your file in many different formats. Some of
these formats are now redundant and are only there to provide backwards
compatibility. Others are specialist formats used in areas such as medical
imaging. In reality you only need to know a few of these formats – the
number depends on the type of work you are doing.

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Popular and Useful File Formats:

PSD: This is Photoshop’s native file format and if you only use Photoshop as
you image editor, it’s the one that will give you the most flexibility. It will
retain all layers, adjustments and effects that you have applied to your
image. This format also supports high bit depth filed up to 32bits. The file
sizes for high bit depth files can be extremely large so think carefully before
you consider saving your image in anything other than 8bits.

TIFF: Tagged-Image File Format (TIFF, TIF) has most of the same attributes
as the PSD format (when opened in Photoshop). This format is useful for its
compatibility with almost all software that will open image data. It also
allows the use of several different compression methods to reduce the size of
your file.

JPEG: Joint Photographic Experts Group (JPEG, JPG) format is mostly used
for images that will be displayed on screen or the web. This file format uses

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“Lossy” compression, which is to say, that data is lost during the
compression process resulting in a much smaller file, but may also
compromise image quality. If your camera only takes JPEG images I
recommend that you save the image as a PSD during the editing process, as
repeatedly opening and saving JPEG images causes recompression of the
images and can severely degrade the data, resulting in very noticeable
compression artefacts.

GIF: Graphics Interchange Format (GIF) is used to display indexed colour

mode graphics. This file format may only contain 256 colours so it is not
commonly used for photographs. However, it has several characteristics that
have made it very popular in web graphics.

• Small file size

• Supports transparency
• Supports animation

PNG: Like the GIF format this format is commonly used for web graphics.
The PNG format is a lot more flexible in its support for 24bit photographic
images and alternative color modes than the GIF format. However, it is not
as widely supported in web browsers.

We will look at the JPEG, GIF and PNG formats in more detail when we
cover saving images for the web in book three of this series.

PDF: The Portable Document Format (PDF) is very useful for displaying files
across multiple platforms and applications. It has the benefit of supporting
compression, 16bit format and common colour modes, whilst retaining font,
vector, raster information and Photoshop editing (if selected).

 OPEN PHOTOSHOP PROJECT

Navigating and ZoomingThe Navigator Panel When you are zoomed in to

and image in Photoshop it is easy to lose where you are. By quickly checking
the Navigator panel, the red square (fig 3.1) will indicate the zoomed area.
Navigation can also be undertaken by dragging the red square to a new
position.

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The Hand Tool
The Hand tool is used for moving the image around whist zoomed in. In
CS5, flick panning is possible and can be enabled or disabled in the general
preferences dialogue box which is found in the Edit menu on the PC, or the
Photoshop menu on the Mac. If you are performing some close up editing
and need to quickly access the Hand tool, holding down the Space Bar will
temporarily select the tool, your original too will be reinstated once the
Space Bar is released. The Zoom Tool

When the zoom tool is selected, the default setting is to enable you to zoom
in to an image in two ways: • Click on the desired portion of the image to
zoom in predefined increments. • Click and drag to define a particular area
that you wish to zoom in on.

When you wish to zoom back out, you can either click on the icon with the
magnifying glass containing the minus symbol (fig 3.2), or Alt/Option
(PC/Mac) – Click to temporarily change the tool. The second method is
preferable because unless you remember to click on the zoom in icon (the
one with the plus), you may zoom out when you want to zoom in the next
time that you come to use the tool.

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Fig 3.2 the Options associated with the Zoom tool.

There are four buttons in the Zoom options that can help you navigate your
image:

• Actual Pixels – shows your image at 100% magnification

• Fit Screen – zoom’s your image to fit the available work area, respecting
the panels and tool bar
• Fill Screen – zoom’s you image to fill all the available work area without
respect the position of any open panels.
• Print Size – show the image at the size it will be printed based on the
documents resolution setting.

Points to Remember

Don’t forget that there are:

 Creation of an image Document accoring to the opinions of the client
 Import a photo and Save Photoshop project
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You can remove unwanted elements by using:
Cropping

The Crop Tool can be used to select a particular area of an image and
discard everything outside this area. Although cropping an image makes
your image smaller, it is not the same as Image Size. While Image Size
allows you to control the size of a document, the Crop Tool sets the focus
area of your document.

 To crop an image, select the Crop Tool located in your Tool Bar on the left
(C)

 To crop an image, click on the dark arrows in the corners or the dark lines
on the sides, top, and bottom and drag to wherever you’d like
 Click Enter on the keyboard when ready to crop

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 Using Selection tools:

Quick Selection tool

1. Select the Quick Selection tool. ...

2. In the options bar, click one of the selection options: New, Add To, or
Subtract From. ...
3. To change the brush tip size, click the Brush pop-up menu in the options
bar, and type in a pixel size or drag the slider. ...
4. Choose Quick Selection options:

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 A. Using marquee and lasso tools

Selections are a great way to work on parts of your image independently,

rather than manipulating the image as a whole.

Once you’ve selected a part of an image (e.g. a person’s head or other

object), you can then manipulate this object separately from the rest of
the image. This means you can cut the object out; add drop shadows;
adjust the brightness/contrast; warp it; apply effects and filters easily –
in fact, anything you like!

In this series of tutorials you’ll explore the various selection tools in

Photoshop. On this page we start with the marquee and lasso tools.

The marquee tools

The simplest selection tools to use are the marquee tools. These include
the Rectangular, Elliptical, Single Row and Single Column tools. Activate
the tools by clicking and holding the mouse button on the top-left tool in
the Tools palette:

Click on the tool you would like to use. The Rectangular Marquee tool
lets you select a square or rectangular area; the Elliptical Marquee tool
selects a circular or elliptical area; and the Single Row and Single
Column tools select a single line of pixels either horizontally or vertically.

To use one of the marquee tools, click and drag out the selection with
the mouse in your image:

Creating a selection with the Rectangular Marquee tool

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By holding down the Shift key while dragging, you can constrain the
selection to a square (for the Rectangular Marquee tool) or a circle (for
the Elliptical Marquee tool):

Creating a circular selection with the Elliptical Marquee tool

Also, by holding down the Alt key while dragging, you can drag from the
centre of the selection rather than from the edge – this is great for
positioning circular selections precisely! Try it out to see what I mean.

The lasso tools

The lasso tools are great for selecting well-defined, irregularly-shaped

areas. For example, they work well on strong foreground features of an
image, such as a person’s head.

To use the Lasso selection tools, click and hold the mouse on the Lasso
Tool icon in the Tools palette:

Click on the tool you’d like to use. The best way to learn about these
tools is to try them out, but here are some pointers for you:

The regular Lasso tool lets you select freehand areas by clicking and
dragging with the mouse – when you release the mouse the “loop” is
closed, completing the selection. This tool is great for quickly selecting a
rough area.

Polygonal Lasso tool

The Polygonal Lasso tool lets you create selections based on straight
lines (or segments). This allows you more precise control when selecting

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using the mouse. Click with the mouse in your image to add the first
fastening point, then move the mouse and click again to create a new
fastening point with a segment in between. Continue in this way until
you’re done, then close the selection border by moving the mouse over
the first point and clicking (double-clicking with the mouse will also
close the selection automatically).

Magnetic Lasso tool

The Magnetic Lasso tool is similar to the Polygonal tool, but it tries to
add fastening points automatically based on the edge of the area you’re
selecting. For this reason, the magnetic lasso tool works best when
selecting areas that contrast well with their surroundings. As with the
Polygonal tool, you click to start it off. You can also add your own points
by clicking. Finish the selection by moving the mouse over the first point
and clicking, or just double-clicking.

The Magnetic Lasso tool’s options let you control the tool’s sensitivity:

Width controls the range of pixels around the mouse pointer within
which the tool looks for the edge of the object you’re tracing. If your
object has well-defined edges you can set a high “Width” value and trace

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the object quickly and roughly. For more blurred edges, reduce the width
and trace more precisely.

Edge Contrast specifies the tool’s sensitivity to the edge of the object
you’re selecting. A high Edge Contrast value will only detect edges that
contrast strongly with the rest of the image, whereas a lower value will
detect softer edges.

The Frequency option controls how often the Magnetic Lasso tool will
automatically place fastening points. A higher Frequency value will place
more fastening points as you trace round the object.

Learn also how to use or how to do the following in details

B. Quick selection tools
C. The magic wand tool
D. Combining selection tools
E. Loading a selection tools
F. Converting a selection into a layer mask
G. Refining a selection
H. Using the select menu options
I. Filling selection with color

40
Working with Layers
A Photoshop layer is like a sheet of transparent film, similar to ones used
for an overhead projector. When you stack films (layers) together, you will be
able to see through the transparent parts and not be able to see through the
parts with content. You can move, rotate, and manipulate a single layer
without affecting any others. You can also change the opacity, or
transparency, of one layer to make content partially visible.

41
 Layer Menu gives you additional commands and options

 Filter Option helps you find key layers in complex documents quickly

 Blending Mode controls how layers react with one another

 Master Opacity controls the opacity of a layer

 Locking Controls allows you to lock various parts of a layer to prevent

editing

 Fill Opacity controls just the fill opacity of a layer (not the stroke)

 When you are working on a particular layer, it will become an Active Layer

 A folder icon will appear on layers that are in a Group

 Layer Thumbnail shows you a smaller view of just that layer

 Layer Name can be changed to help organize and maintain your layers

 Show/Hide Layer makes a layer visible or invisible

 A lock icon will appear on any Locked Layer

 Background Layer is the bottommost layer in your panel

 Link Layers links multiple layers so you can move the content in them
together

42
  Layer Styles adds effects (drop shadow, bevel and emboss, etc.) to your
layers
 Add Layer Mask allows control of particular pixels that you select within
a layer

 New Adjustment Layer provides image adjustments to all visible layers

under them
 New Group groups layers together to help you organize and manage them
 Add a New Layer, name your layer, and click “Ok”

 If you no longer want a layer, then you can Delete it

Adding In More Images

Photoshop projects can have multiple images by separating them into
different layers. To add another image into your project:
 Go to File at the top menu and select Place…

 Next select the image you would like to add, and click Place

 When you Place a new image into your document, it will automatically
go into Transform mode o Transform mode is used to size content within a
layer
o You can also move your content to any desired location by left
clicking on it and dragging
o When you are satisfied with the size and placement of your
content press Enter on your keyboard

43
  Painting with fills and strokes
Fill a layer with a color or pattern
 Specify a foreground or background color.
 Select the area you want to fill. To fill an entire layer, select the layer in the
Layers panel.
 Choose Edit > Fill Layer, or Edit > Fill Selection .
 Set options in the Fill dialog box, and then click OK.

Contents
Choose a color from the Use menu. To select a different color, choose Color

44
Custom Pattern
Specifies the pattern to use if you choose Pattern from the Use menu

Mode
Specifies how the color pattern that you apply blends with the existing pixels
in the image.

Opacity
Sets the opacity of the color pattern to apply.
Preserve Transparency
Fills only opaque pixels.

45
 Stroke (outline) objects on a layer
You can use the Stroke command to automatically trace a colored outline
around a selection or the content of a layer.
Note:
To add an outline to the background, you must first convert it to a regular
layer. The background contains no transparent pixels, so the entire layer is
outlined.
1. Select the area in the image or a layer in the Layers panel.
2. Choose Edit > Stroke (Outline) Selection.

3. In the Stroke dialog box, set any of the following options, and then click OK
to add the outline:
Width
Specifies the width of the hard-edged outline. Values can range from 1 to
250 pixels.
Color
Sets the color of the outline. Click the color swatch to select a color in the
Color Picker.

46
Location
Specifies whether to place the outline inside, outside, or centered over the
selection or layer boundaries.
Mode
Specifies how the paint that you apply blends with the existing pixels in the
image.
Opacity
Sets the opacity of the paint you apply. Enter an opacity value or click on
the arrow and drag the slider.
Preserve Transparency
Strokes only areas containing opaque pixels on a layer. If your image has no
transparency, this option isn’t available
NOTE : You can use custom shape tool to fills and stroke

1. How to make a shadow in ps

quick selection

47
2. ctrl+j , and go to drop shadow

3. Check drop shadow, maximize opacity, make sure that the blend
mode is normal
;

48
4. Create a new layer by right click on drop shadow layer and click
ok.

5. Create a layer by add layer styles. Use ctrl +T by transforming and

use move tool. Make sure that the shadow layer is selected.

Decrease opacity 80%, and convert into smart object. And go to

Filter>blur>gausian blur>with radius 3.3 Pixels.

49
 Points to Remember

Don’t forget that you should manage the layer by Creating a new layer,
Duplicating layers, Using Layer groups, Scale and Rotate Layers, Working with
opacity, Aligning layers, Using Layer masks, Merging, Rasterizing and flattening
layers, Blending modes/layer styles, Applying fills and strokes

1.Definitions:

Image is the visual representation of someone or something

A portrait is a painting, drawing of a particular person or something

Retouching: It is to remove or add elements into an image using digital

software

Photo retouching is the process of altering an image to prepare it for final

presentation.

Why do we need a photo retouch? Because of the responsibility of

photographer to enhance the view of the model, to increase their beauty
and make them more interesting or attractive.
With photo retouch, the photographer can use makeup to change the
general appearance of the model.
50
 What's the Difference between Photo Retouching and

Editing?

51
Editing a photo means spending a few minutes making partial changes to
the photo, preserving the composition of the photo. Photo editing is a
very simple process. You only need to make simple edits to the image,
such as cropping adding stickers, applying filters, resizing, adjusting the
brightness and contrast of the image etc.

When simple editing can not make it, you need to retouch the photos.
Basic retouching takes more time than photo editing. You may need to
remove facial wrinkles from a portrait, beautify the portrait, plasticize the

52
body, adjust the features, and even remove or add a background.
Retouching means making more changes and manipulating the photo.

How to Retouch a Photo in Photoshop?

As we have described above that retouching is the next step of editing,

which means that your photos need to be improved for imperfections. So
during retouching, you need to focus on the skin, facial features and
hair.

Adobe Photoshop, or "PS" for short, is an image processing software

developed and distributed by AdobeSystems. Photoshop mainly deals
with digital images made up of pixels. With its many tools, you can edit
your images effectively. It has many features that cover all aspects of
image, graphics, text, video even publishing etc.

How to retouch a photo in Photoshop:

1. Duplicate the image layer to avoid damaging the original layer.

2. Use the Patch Tool to remove wrinkles. Click and drag the Patch Tool
to draw around a wrinkle, then click inside the selection and drag it onto
another part of the skin to replace the wrinkle.

3. Use the Clone Stamp Tool to eliminate eye bags. Define a point where
the eye bags are and set the opacity of the brush to 20%. Paint over it a
few times with the brush until the puffiness is eliminated.

4. Use the Spot Healing Spot Tool to remove blemishes. This tool
automatically removes spots marks, dirt and dust quickly and easily.

5. Save and export the image.

Retouch with the Spot Healing Brush tool

The Spot Healing Brush tool quickly removes blemishes and other
imperfections in your photos. The Spot Healing Brush works similarly to
the Healing Brush: it paints with sampled pixels from an image or
pattern and matches the texture, lighting, transparency, and shading of

53
 the sampled pixels to the pixels being healed. Unlike the Healing Brush,
the Spot Healing Brush doesn’t require you to specify a sample spot. The
Spot Healing Brush automatically samples from around the retouched
area.

Using the Spot Healing Brush to remove a blemish

Note:
For retouching a large area or for more control over the source sampling,
you can use the Healing Brush instead of the Spot Healing Brush.
1. Select the Spot Healing Brush tool from the toolbox. If necessary, click
either the Healing Brush tool, Patch tool, or Red Eye tool to show the
hidden tools and make your selection.
2. Choose a brush size in the options bar. A brush that is slightly larger than
the area you want to fix works best so that you can cover the entire area
with one click.
3. (Optional) Choose a blending mode from the Mode menu in the options
bar. Choose Replace to preserve noise, film grain, and texture at the edges
of the brush stroke when using a soft edge brush.
4. Choose a Type option in the options bar:
Proximity Match
Uses pixels around the edge of the selection to find an area to use as a
patch.
Create Texture
Uses pixels in the selection to create a texture. If the texture doesn’t
work, try dragging through the area a second time.
Content-Aware

54
 Compares nearby image content to seamlessly fill the selection,
realistically maintaining key details such as shadows and object edges.
Note: To create a larger or more precise selection for the Content-Aware
option, use the Edit > Fill command.
5. Select Sample All Layers in the options bar to sample data from all visible
layers. Deselect Sample All Layers to sample only from the active layer.
6. Click the area you want to fix, or click and drag to smooth over
imperfections in a larger area.

Dodge and burn

The Dodge tool and the Burn tool lighten or darken areas of the image.
These tools are based on a traditional darkroom technique for regulating
exposure on specific areas of a print. Photographers hold back light to
lighten an area on the print (dodging) or increase the exposure to darken
areas on a print (burning). The more you paint over an area with the Dodge
or Burn tool, the lighter or darker it becomes.

1. Select the Dodge tool or the Burn tool .

2. Choose a brush tip and set brush options in the options bar.
3. In the options bar, select one of the following from the Range menu:
 Midtones: Changes the middle range of grays
 Shadows: Changes the dark areas
 Highlights: Changes the light areas
4. Specify the exposure for the Dodge tool or the Burn tool.

5. Click the airbrush button to use the brush as an airbrush.

Alternatively, select the Airbrush option in the Brush panel.
6. Select the Protect Tones option to minimize clipping in the shadows and
highlights. This option also tries to keep colors from shifting hue.
7. Drag over the part of the image you want to lighten or darken.)

 The cloning tool

About the Clone Source panel

The Clone Source panel (Window > Clone Source) has options for the Clone
Stamp tools or Healing Brush tools. You can set up to five different sample
sources and quickly select the one you need without resampling each time
you change to a different source. You can view an overlay of your sample
source to make it easier to clone the source in a specific location. You can
also scale or rotate the sample source to better match the size and
orientation of the cloning destination.
For timeline-based animations, the Clone Source panel also has options
for specifying the frame relationship between the sample source

55
 video/animation frame and the target video/animation frame. See
also Cloning content in video and animation frames.

Retouch with the Clone Stamp tool

The Clone Stamp tool paints one part of an image over another part of
the same image or over another part of any open document that has the
same color mode. The Clone Stamp tool is useful for duplicating objects or
removing a defect in an image.
To use the Clone Stamp tool, you set a sampling point on the area you
want to copy (clone) the pixels from and paint over another area.

1. Select the Clone Stamp tool .

2. Choose a brush tip and set brush options for the blending mode, opacity,
and flow in the options bar.
3. To specify how you want to align the sampled pixels and how to sample
data from the layers in your document, set any of the following in the
options bar:
Aligned
Samples pixels continuously, without losing the current sampling point,
even if you release the mouse button. Deselect Aligned to continue to use
the sampled pixels from the initial sampling point each time you stop and
resume painting.
Sample
Samples data from the layers you specify. To sample from the active layer
and visible layers below it, choose Current And Below.
To sample only from the active layer, choose Current Layer.
To sample from all visible layers, choose All Layers.
To sample from all visible layers except adjustment layers, choose All
Layers and click the Ignore Adjustment Layers icon to the right of the
Sample pop-up menu.

56
4. Set the sampling point by positioning the pointer in any open image and
Alt-clicking (Windows) or Option-clicking (Mac OS).
Note:
Make sure you are not working on an adjustment layer. The Clone Stamp
tool does not work on adjustment layers.
5. (Optional) In the Clone Source panel, click a clone source button and
set an additional sampling point.
You can set up to five different sampling sources. The Clone Source panel
saves the sampled sources until you close the document.
6. (Optional) Do any of the following in the Clone Source panel:
 To scale or rotate the source that you’re cloning, enter a value for W
(width), H (height), or the rotation in degrees .
 To reverse the direction of the source (good for mirroring features like
eyes), click the Flip Horizontal or Flip Vertical buttons.
 To show an overlay of the source that you’re cloning, select Show
Overlay and specify the overlay options.
Note:
Select Clipped to clip the overlay to the brush size.
Drag over the area of the image you want to correct.

Set sample sources for cloning and healing

Using the Clone Stamp or Healing Brush tool, you can sample sources in
the current document or any open document in Photoshop.
You can set up to five different sampling sources at a time in the Clone
Source panel. The Clone Source panel saves the sampling sources until
you close the document.
1. To clone video or animation frames, open the Animation panel (if you’re not
cloning video or animation frames, skip to step 2). Select the timeline
animation option and move the current-time indicator to the frame with
the source you want to sample.
2. To set the sampling point, select the Clone Stamp tool and Alt-click
(Windows) or Option-click (Mac OS) in any open document window.
3. (Optional) To set another sampling point, click a different Clone Source
button in the Clone Source panel.
You can change the sampling source for a Clone Source button by setting
a different sampling point.

 The content aware tool

 The spot healing brush

Retouch with the Spot Healing Brush tool

57
 The Spot Healing Brush tool quickly removes blemishes and other
imperfections in your photos. the Spot Healing Brush doesn’t require you
to specify a sample spot.

Note:
For retouching a large area or for more control over the source sampling,
you can use the Healing Brush instead of the Spot Healing Brush.
1. Select the Spot Healing Brush tool from the toolbox. If necessary, click
either the Healing Brush tool, Patch tool, or Red Eye tool to show the
hidden tools and make your selection.
2. Choose a brush size in the options bar. A brush that is slightly larger than
the area you want to fix works best so that you can cover the entire area
with one click.
3. (Optional) Choose a blending mode from the Mode menu in the options
bar. Choose Replace to preserve noise, film grain, and texture at the edges
of the brush stroke when using a soft-edge brush.
4. Choose a Type option in the options bar:
Proximity Match
Uses pixels around the edge of the selection to find an area to use as a
patch.
Create Texture
Uses pixels in the selection to create a texture. If the texture doesn’t work,
try dragging through the area a second time.
Content-Aware
Compares nearby image content to seamlessly fill the selection,
realistically maintaining key details such as shadows and object edges.
 The healing brush

Removing Blemishes by using healing brush tool

58
1. Step 1: Add A New Blank Layer.
2. Step 2: Select Healing Brush.
3. Step 3: Select The "Sample current and below" Option.
4. Step 4: Select "Content-Aware"
5. Step 5Check aligned, mode normal
6. Step 6.Take a sample
7. Step 7: Click On The Skin Blemishes To Heal Them.

 The patch tool

How To Repair Scratches, Tears, and Spots on an Old Photo by Using

Patch tools
1. Step 1: Open the scanned old photo. Open the image that you wish
to repair.
2. Step 2: Select the scratches and tears. Carefully select all defects on
a photo using the Patch tool

3. Step 3: Run the process.

59
 Enhancing and correction image

A. Making basic image adjustments

Making auto adjustments
Adjust Brightness and contrast
Hue and saturation
Color balance
Vibrance
Black and white

 Apply Levels
Levels does two things in one tool, it corrects the tonal range in an image
and it corrects the colour balance. Adjustments made using the Levels tool
are not only about getting the exposure on your image correct; it also has a

60
 second function and that is, it can correct for colour too. Yes, there are other
tools within Photoshop that can do this, but the Levels tool can make it
really quick and easy.

 The Levels tool uses a histogram to show a visual representation of the

tonal range in your image. There is a lot to be said about a histogram, but
the most important thing to remember is that there is no right or wrong
histogram. If you are unsure about how a histogram works, check out:
How to read and use Histograms. On the histogram in the Levels tool, you
will see a numerical range starting at zero on the left hand side of the
graph, and 255 on the right. In the Levels function, zero represents black
and if you have pixels that are at zero, that means there is no detail, they
are totally black. The right hand side at 255 represents total white. If you
have pixels at 255 that means they are totally white, with no detail. If the
shape of your histogram is leaning to the left hand side, that means you
have a lot of dark pixels in your image and your image is possibly
underexposed. If the histogram is more on the right hand side that means
you have a lot of bright highlights in your image and it is possibly
overexposed. The middle slider is the mid-tone or gamma adjustment. All
the pixels that are not highlights or shadows, fall into this category.

How does the Levels tool work?

When you open the Levels tool, very often your first instinct is to push the
sliders into a position that makes the image look brighter. That can work,
but I suggest that you do the following: Before you make any adjustments,
take a look at your image and see if you can pick up a color cast. This is a
tint or color that affects the whole image, and is often unwanted. For
example, if you have a wedding photo of a bride shot on an overcast day
and while everything looks okay, there may be a slight blue hue in the
image from the overcast light. This means that her dress looks a little blue
instead of white. In a case like this, a color cast is something you want to
get rid of.

How to use the Levels tool

You can use the Levels tool on any image that needs the colour or contrast
corrected. If you have an image that needs to have the colour cast
corrected, like my shot of the Star Wars Stormtrooper does, then do the
following:

1. Open your image in Photoshop.

2. Click on the adjustment layer icon at the bottom of the Layer panel and
create a Levels adjustment layer, or click on the Levels tool icon in the
adjustments panel which is directly above the layers panel

61
Curves
In the Curves adjustment, you adjust points throughout an
image’s tonal range. Initially, the image’s tonality is
represented as a straight diagonal line on a graph. When
adjusting an RGB image, the upper-right area of the graph
represents the highlights and the lower-left area represents the
shadows. The horizontal axis of the graph represents the input
levels (original image values) and the vertical axis represents
the output levels (new adjusted values).

62
 Adjust image color and tone with Curves

Moving a point in the top portion of the curve adjusts the highlights.
Moving a point in the center of the curve adjusts the midtones, and moving
a point in the bottom section of the curve adjusts the shadows. To darken
highlights, move a point near the top of the curve downward. Moving a
point either down or to the right maps the Input value to a lower Output
value, and the image darkens. To lighten the shadows, move a point near
the bottom of the curve upward. Moving a point either up or to the left
maps a lower Input value to a higher Output value, and the image
lightens.

1. To apply a Curves adjustment, do one of the following:

o Click the Curves icon in the Adjustments panel.
o Choose Layer > New Adjustment Layer > Curves. Click OK in the New
Layer dialog box.

(Optional) To adjust the color balance, in the Properties panel, choose the
channel you want to adjust from the menu to the left of the Auto button.

In the Properties panel, do any of the following:

 Click directly on the curve line and then drag the control point to adjust a
tonal area.
 Select the On-image adjustment tool and then drag in the area of the
image you want to adjust.
 Select the On-image adjustment tool and click the tonal areas in the image
that you want to adjust. This places control points along the curve line.
 Choose a preset from the Preset menu.

Dragging a control point up or down lightens or darkens the tonal area

you’re adjusting. Dragging a control point left or right increases or
decreases the contrast. You can add up to 14 control points to the curve.
To remove a control point, drag it off the graph. As you adjust the tonality,
the graph continues displaying the original diagonal baseline and image
histogram as references. These options can be turned off, see Set Curves
Display Options.

(Optional) Do any of the following to modify the adjustment:

 Add more points directly to the curve to adjust different tonal areas.
 Click the On-image adjustment tool in other areas of the image, and drag
up or down.
 Move the Set Black and White Point sliders or use the Eyedropper tools to
specify the darkest and lightest values in the image.
 Click a point on the curve, and enter values in the Input and Output text
boxes.
 Select the pencil icon and draw a new curve over the existing one. When
you have finished, click the Smooth the Curve Values icon or to smooth

63
 the curve you drew. Clicking more than once continues to smooth the
curve further.

Points on the curve remain anchored until you move them. You can make
an adjustment in one tonal area without affecting other areas.

 Removing control points from a curve

To remove a control point, do any of the following:

 Drag the control point off the graph.

 Select the control point and press Delete.
 Ctrl-click (Windows) or Command-click (Mac OS) the control point.

 Set Curve display options

You can control the curve grid display using the Curve display options.

1. Apply a Curves adjustment.

2. In the Properties panel, choose Curves Display Options from the panel
menu

 Apply auto tones:

Do one of the following:

I. Click the Levels or Curves icon in the Adjustments panel.
II. Choose Layer > New Adjustment Layer and choose either Levels or Curves.
Click OK in the New Layer dialog box.
III. In the Properties panel, Alt-click (Windows) or Option-click (Mac OS) the
Auto button.
IV. Under Algorithms in the Auto Color Correction Options dialog box, select
the Find Dark & Light colors option.
V. Select the Snap Neutral Midtones option.
VI. Specify the shadows and highlights that are clipped, and adjust the target
color for the midtones.
VII. Click OK to apply Auto Color.

Working with Adjustment layers and masking

Image editing is all about adjusting your images to make them look
better. We'll cover some of the most basic image adjustments, along
with some common problems to watch out for when making these
changes. The adjustments we'll cover include:

• Cropping: If you want to remove parts of an image, you can crop

it. You can think of cropping as using a pair of scissors to cut
out the parts you no longer want.
• Resizing: If you want to make an image smaller or larger, you
can resize it. However, keep in mind that making an image larger

64
 than its original size generally does not make the image look
good.
• Rotating: If you want to change the orientation of an image, you
can rotate it to the left or right.
If you have a different image editing program, you can still follow along.
These features will work roughly the same way for most image editors.

Image editing tips

Here are a few important things to keep in mind as you start working
with images.
-Keep your originals
-Check the zoom level: When you're editing an image on a computer,
you'll usually be viewing it at less than 100% of its full size.

Cropping images

There will often be times when an image includes a lot of extra space or
content you'd like to remove. You can solve this problem by cropping
the image. In the example below, we cropped the image to show less of
the background and emphasize the butterfly.

You can also use cropping to completely change the composition or

subject of an image.

65
Remember, cropping will remove pixels from an image, so you'll always
need to make sure the cropped version is still large enough for your
needs. If you want to print the image or display it at a large size, you'll
generally need more resolution.

Resizing images

Because digital images can be displayed at different sizes, you probably

won't need to resize your images most of the time. However, resizing is
an easy way to reduce the file size of an image, which can be helpful if
you want to send an image as an email attachment or upload it. You
can see an example of resizing below.

Remember, you should avoid making images larger than their original
size. When you do this, the image simply won't have enough detail to
look good at the larger size. As you can see in the example below, the
resized image is blurry and doesn't have a lot of detail.

Rotating images

66
Sometimes an image may be rotated the wrong way. This can happen if
the camera was turned on its side when taking the original image. It's
easy to fix this by rotating the image, as in the example below.

In some programs, the Rotate tool will be a menu option. In Photoshop,

for example, it can be found by clicking the Image menu, then selecting
Image Rotation.

Other image adjustments

So far, we've covered some of the most basic image adjustments, like
cropping, resizing, and rotating. There are other common adjustments
you can use to improve your images, like brightness and contrast,
saturation, and sharpening.

67
68
This indicative content describes knowledge, Attitudes and skills required to
:Using fonts and typefaces ,Combining typefaces,Using Size and
measurements of types

Typography
Typography refers to the style, size and arrangement of the letters in a piece
of printing Typography is the science of using letter forms for
communication.
Typography is the art and technique of arranging type to make written
language legible, readable, and appealing when displayed. The term
typography is also applied to the style, arrangement, and appearance of the
letters, numbers, and symbols created by the process.

A. Describing fonts and typefaces

What is the difference between a font and a typeface? Typeface refers to a

group of characters, letters and numbers that share the same design. For
example Garamond, Times, and Arial are typefaces. Whereas font is a
specific style of typeface with a set width, size, and weight. For example,
Arial is a typeface; 16pt Arial Bold is a font. There are five basic
classifications of typefaces: serif, sans serif, script, monospaced, and
display. Serif and sans serif typefaces are used for either body copy or
headlines (including titles, logos, etc.)

A serif is a small line or stroke regularly attached to the end of a larger

stroke in a letter or symbol within a particular font or family of fonts. A
typeface or "font family" making use of serifs is called a serif typeface,
Popular sans serif fonts include Helvetica, Avant Garde, Arial, and Geneva.
Serif fonts include Times Roman, Courier, New Century Schoolbook, and
Palatino. Script fonts are typefaces with a personal touch, like calligraphy
and handwriting fonts. They are perfect for invitations, greeting cards,
headlines or very short, expressive texts.

69
 Alex Brush  Pacifico  Great Vibes  Lobster.  Allura  Kaushan  Grand
Hotel  Windsong.
A display typeface is a typeface that is intended for use at large sizes for
headings, rather than for extended passages of body text.
Ex: Algerian, Astur Script and display typefaces are only used for headlines.
Monospaced typefaces are generally used for displaying code. A monospaced
font, also called a fixed-pitch, fixed-width, or non-proportional font, is a font
whose letters and characters each occupy the same amount of horizontal
space.
Ex:courier, Courier New, Lucida Console, Monaco, Consolas and
Inconsolata.
B. Guidelines of combining typeface

Create A Variety Of Typographic Colors

Typographic color is the combined effect of the variations of font weight,
size, stroke width, leading, kerning, and several other factors. One easy way
to see typographic colors is to squint at a layout until you can’t read it
anymore, but can still see the text in terms of its overall tonal value.

Points to Remember

Don’t forget that you should type words by using Horizontal Type tool, vertical
Type tool and horizontal type mask tool and vertical type mask tool

70
This indicative content describes knowledge, Attitudes and skills required to
:Use Scale, Use Distort, Use Skew, Use Perspective, Use Wrap, Use Rotate,
Use Flip Blending modes/layer styles, Apply fills and strokes

Using Transformations
A. The reference point
B. Scale
C. Rotate
D. Skew
E. Distort
F. Perspective
G. Warp
H. Free Transform

Scale layers proportionally

When transforming any layer type, dragging a corner handle now scales
the layer proportionally by default, indicated by the Maintain Aspect
Ratio button (Link icon) in the ON state in the Options bar. To change
the default transforms behavior to non-proportional scaling, simply turn
OFF the Maintain Aspect Ratio (Link icon) button. The Shift key, while
pressed, now acts as a toggle for the Maintain Aspect Ratio button. If
the Maintain Aspect Ratio button is ON, the Shift key toggles it OFF
while pressed and vice versa. Photoshop remembers your last transform
behavior setting—proportional or non-proportional scaling—it will be
your default transform behavior when you start Photoshop the next time.

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How do I switch back to the legacy transform behaviour?

From the menu bar, choose Edit (Win)/Photoshop (Mac) > Preferences
> General, then select Legacy Free Transform.
Apply transformations
Transforming scales, rotates, skews, stretches, or warps an image. You
can apply transformations to a selection, an entire layer, multiple layers,
or a layer mask. You can also apply transformations to a path, a vector
shape, a vector mask, a selection border, or an alpha channel.
Transforming affects image quality when you manipulate the pixels. To
apply non-destructive transformations to raster images, use Smart
Objects. Transforming a vector shape or path is always non-destructive
because you’re only changing the mathematical calculations producing
the object.
To make a transformation, first select an item to transform and then
choose a transformation command. If necessary, adjust the reference
point before manipulating the transformation. You can perform several
manipulations in succession before applying the cumulative
transformation. For example, you can choose Scale and drag a handle to
scale, and then choose Distort and drag a handle to distort. Then press
Enter or Return to apply both transformations.
Photoshop uses the interpolation method selected in the General area of
the Preferences dialog box to calculate the color values of pixels that are
added or deleted during transformations. This interpolation setting
directly affects the speed and quality of the transformation. Bicubic
interpolation, the default, is slowest but yields the best results.
Transform submenu commandsScale
Enlarges or reduces an item relative to its reference point, the fixed point
around which transformations are performed. You can scale
horizontally, vertically, or both horizontally and vertically.
Rotate
Turns an item around a reference point. By default, this point is at the
center of the object; however, you can move it to another location.
Skew
Slants an item vertically and horizontally
Distort
Stretches an item in all directions
Perspective
Applies one point perspective to an item
Warp
Manipulates the shape of an item
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Rotate 180, Rotate 90 CW, Rotate 90 CCW

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 Rotates the item by the specified number of degrees, either clockwise or
counterclockwise
Flip
Flips the item vertically or horizontally

In this episode of The Complete Picture, there is demonstration of

features for working with vectors in Photoshop.
Select an item to transform

1. Do one of the following:

• To transform an entire layer, make the layer active, and make sure nothing
is selected.
Note:
You cannot transform the background layer. To transform it, first
convert it to a regular layer.
• To transform part of a layer, select the layer in the Layers panel, and then
select part of the image on that layer.
• To transform multiple layers, do either of the following in the Layers panel:
Link the layers together, or select multiple layers by Ctrl-clicking
(Windows) or Command-clicking (Mac OS) more than one layer. In the
Layers panel, you can also Shift-click to select contiguous layers.
• To transform a layer mask or a vector mask, unlink the mask and select
the mask thumbnail in the Layers panel.
• To transform a path or vector shape, use the Path Selection tool to select
the entire path or the Direct Selection tool to select part of the path. If
you select one or more points on a path, only those path segments
connected to the points are transformed.
• To transform a selection border, make or load a selection. Then choose
Select > Transform Selection.
• To transform an alpha channel, select the channel in the Channels panel.
Set or move the reference point for a transformation
All transformations are performed around a fixed point called the
reference point. By default, this point is at the center of the item you are
transforming. However, you can change the reference point or move the
center point to a different location using the reference point locator in
the options bar.
1. Choose a transformation command. A bounding box appears in the image.
2. The reference point is hidden by default. To show the reference point ( ),
click select the check box next

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 3. Do one of the following:
Scale, rotate, skew, distort, apply perspective, or warp
You can apply various transform operations such as Scale, Rotate, Skew,
Distort, Perspective, or Warp to the selected image.
1. Select what you want to transform.
2. Choose Edit > Transform > Scale, Rotate, Skew, Distort,
Perspective, or Warp. Note:
If you are transforming a shape or entire path, the Transform menu
becomes the Transform Path menu. If you are transforming multiple

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 path segments (but not the entire path), the Transform menu becomes
the Transform Points menu.

3. (Optional) In the options bar, click a square on the reference point locator .
4. Do one or more of the following:

Use the Maintain Aspect Ratio button (Link icon) in the Options bar to choose
the default scaling behaviour
• If you chose Scale, drag a handle on the bounding box. When positioned
over a handle, the pointer becomes a double arrow.
• If the Maintain Aspect Ratio button (Link icon) is ON in the Options bar,
drag a corner handle to scale the layer proportionally.
• If the Maintain Aspect Ratio button (Link icon) is OFF in the Options bar,
drag a corner handle scales the layer non-proportionally.
• Hold down the Shift key while transforming to toggle between proportional
and non-proportional scaling behaviour.
• If you chose Rotate, move the pointer outside the bounding border (it
becomes a curved, two-sided arrow), and then drag. Press Shift to
constrain the rotation to 15° increments.
• If you chose skew, drag a side handle to slant the bounding box.
• If you chose Distort, drag a corner handle to stretch the bounding box.
• If you chose Perspective, drag a corner handle to apply perspective to the
bounding box.
• If you chose Warp, choose a warp from the Warp Style pop-up menu in
the options bar, or to perform a custom warp, drag the control points, a
line, or an area within the mesh to change the shape of the bounding box
and mesh.
• For all types of transformations, enter a value in the options bar. For
example, to rotate an item, specify degrees in the rotation text box.
(Optional) If desired, switch to a different type of transformation by
selecting a command from the Edit > Transform submenu. Note:
When you transform a bitmap image (versus a shape or path), the image
becomes slightly less sharp each time you commit a transformation;
therefore, performing multiple commands before applying the cumulative
transformation is preferable to applying each transformation separately.
(Optional) If you want to warp the image, click the Switch between Free
Transform and Warp Mode button in the options bar.
When you finish, do one of the following to commit the transformation:
• Select a new tool.

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• Click a layer in the Layers panel. (This action auto-commit changes and
also selects the layer.) Click outside the canvas area in the document
window.
• Click outside the bounding box in the canvas area.
• Press Enter (Windows) or Return (Mac OS), click the Commit button in
the options bar, or double-click inside the transformation marquee.
To cancel the transformation, press Esc or click the Cancel
button in the options bar. Flip or rotate precisely

1. Select what you want to transform.

2. Choose Edit > Transform and choose one of the following commands from
the submenu:
• Rotate to specify degrees in the options bar
• Rotate 180° to rotate by a half-turn
• Rotate 90° CW to rotate clockwise by a quarter-turn
• Rotate 90° CCW to rotate counterclockwise by a quarter-turn
• Flip Horizontal to flip horizontally, along the vertical axis
• Flip Vertical to flip vertically, along the horizontal axis Note:
If you are transforming a shape or entire path, the Transform command
becomes the Transform Path command. If you are transforming multiple
path segments (but not the entire path), the Transform command
becomes the Transform Points command.

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 Learning outcome 2: Manipulate graphics with adobe illustrator

Picture/s reflecting the Learning outcome 2

Learning outcome 2.

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79
 Indicative content 2.1: Description of workspace

 Workspace
The Adobe Illustrator workspace is the space that includes tools, panels, and windows that you
use to create and manipulate your artwork.
 Use of Workspace elements
 Selecting menus
 All
This option is used for selecting the all objects of all artboards in the project. To use it go to
Select>All.
 All on Active Artboard

This option is used for selecting the all objects of selected artboard. To use it go to Select >All
on Active Artboard.
 Deselect
This one is pretty simple, but can still be helpful. You might be working really closely on some
details of an illustration and have something outside of your view selected. Instead of zooming
out and searching for that object to deselect, just go to Select > Deselect to clear your selection.
 Reselect

This option is used when you want to selected again the deselected objects in the project. To
use it go to Select>Reselect.
 Inverse
Sometimes it’s easier to select a few things you don’t actually want selected in order to make the
selection you actually want. If there are only a handful of objects that you don’t want selected,
select them, then go to Select > Inverse to swap your selection to everything besides what you
have selected.
 Reselect Next Object Above

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  Next Object Below
 Same
With any object selected, head up to the Select > Same commands. You can select objects
with the same Fill Color, Stroke Color, Stroke Weight, and other options. Super handy, and
much fewer clicks involved.
Object
Save Selection
Edit Selection

● Arranging panels

● Selecting and customizing the toolbar

● Using undo command and history panel

You’ve got several ways to retrace your steps, including the lifesaving Undo command. Just
choose Edit→Undo or press Ctrl+Z. This command lets you undo the very last edit you made.

Using the History panel is much quicker than undoing a long list of changes one by one, and
it gives you a nice list of exactly what tools and menu items you used to alter the image—in
chronological order from top to bottom—letting you pinpoint the exact state you want to
jump back to.

After you make a few changes to an object, pop open the History panel by clicking its button
or by choosing Window→History. When you do, Photoshop opens a list of the last 50 things
you’ve done to the image, including opening it. To jump back in time, click the step you want
to go back to, and Photoshop returns the image to the way it looked at that point. If you hop
back further than you mean to, just click a more recent step in the list.

● Setting Preferences
1. Do one of the following option when you want to set the Preferences:
 For Windows OS, Choose Edit > Preferences > [preference set name].

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  For Mac OS, Choose Illustrator > Preferences > [preference set name]
 With nothing selected, click the Preferences button on the Control panel.

Preferences button on the Control panel

2. Select an option from the menu on the left of the Preferences dialog box to switch to
another preference set.
● Setting, Switching and saving workspaces

Setting workspaces

Switching workspaces
Select a workspace from the workspace switcher in the Application bar. You can also click the
Switch Workspace control on the right side of the application window’s title bar. Choose
the Essentials workspace to start out.

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Saving workspace

Now that the panels and tools are arranged to your liking, it’s time to save your workspace.

Choose Window > Workspace > New Workspace… and enter a name >OK. Tools and panels

are saved as they now appear in the workspace.

Saving work
● Using keyboard shortcuts
Popular shortcuts

Shortcuts Windows macOS

Undo Ctrl + Z Command + Z

Redo Shift + Ctrl + Z Shift + Command + Z

Cut Ctrl + X Command + X

Copy Ctrl + C Command + C

Paste Ctrl + V Command + V

Paste in front Ctrl + F Command + F

Paste at back Ctrl + B Command + B

Paste in place Shift + Ctrl + B Shift + Command + B

Alt + Shift + Ctrl

Paste on all artboards Option + Shift + Command + B
+B

Check spelling Ctrl + I Command + I

Open the Color Settings dialog

Shift + Ctrl + K Shift + Command + K
box

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 Open the Keyboard Shortcuts Alt + Shift + Ctrl
Option + Shift + Command + K
dialog box +K

Open the Preferences dialog

Ctrl + K Command + K
box

space

✔ Use Artboards
● Creating a project in adobe illustrator

1. Click Create new to open the New Document dialog box. Or simply press Ctrl+N

2. Select a category at the top such as Print, Mobile, or Web. These general categories start you
off on the right foot by setting up some parameters for your project, like the best color mode
and resolution.
3.
● Customize artboard
You know how to use the Artboard Options dialog to set the preset, dimension,
position, orientation, and name of the artboard. Within Artboard options, you can
also modify the display and global settings of the artboard.

Follow the steps below to change the display settings of your artboard:

1. Click the Artboard tool and double-click your artboard.

2. In the Artboard Options dialog, select or deselect the checkbox to modify
the Display settings of your artboard

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Artboard Options dialog

● Creating multi artboard document

Option 1: Create a document with multiple artboards from the start.

 Launch Adobe Illustrator, create a new file (File -> New).

 Choose the amount of artboards you’d like by entering a number in the Number
of Artboards text box.

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 Choose how you’d like to arrange the artboards (e.g. grid, row). You can also choose
how you want your rows/columns to be arranged.

 Enter an amount of Spacing. This will determine how close your artboard is together.
I usually want them separated by 20 points or so.

 Choose the size of your artboards. Since Adobe Illustrator works with vector shapes,
you don’t really need to worry about using an artboard that is the exact pixel-size of
your end product.

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  Hit OK, and you’ll have your new document.

Option 2a: Create new artboards in an existing project. If you’ve already started a design, or
get a design that you’re working off of with only one artboard, here is an easy way to create
a new artboard.

 Select the Artboard Tool (Shift + O).

Select the Artboard Tool

 Click and drag to create a new artboard.

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  Start designing!

Option 2b: Duplicate an existing artboard. This is what I usually do to create multiple
artboards in a document that I already have open. With this method, you can easily create a
new artboard that is exactly the right size/aspect. You can also duplicate designs to create
multiple iterations of a design.

 Select the Artboard Tool (Shift + O)

 Hold the alt key on your keyboard

 Click the existing artboard that you want to duplicate, and drag. You will notice
a ghost version of your artboard as you start to drag. Keep holding alt until you’ve
moved the artboard to its final position. Unclick to set it in place.

 You now have a duplicated artboard that can be used.

PRO TIP: When using the artboard duplicating method above, while holding
the option/alt key down, also hold down the shift key. This will lock the new layer on the same
axis, so it is aligned properly. You will have to first due the option/alt + click before you hit
the shift key. Otherwise, Illustrator won’t duplicate your artboard if you
have option/alt & shift keys pressed before your click.

● Arranging the artboards panel

To rearrange artboards, do the following:
1. Click the Artboard tool.

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 2. In the Artboards panel, click to open the Rearrange All Artboards dialog box.
3. Select any of the layout options shown in the Rearrange All Artboards table.
4. Choose the number of Columns or Rows based on the layout.
5. Specify horizontal or vertical Spacing between artboards.
6. Refer the table to rearrange all artboards:

Option Description

Arranges multiple artboards in the specified number of

Grid by Row
columns.

Grid by Column Arranges multiple artboards in the specified number of rows.

Arrange by Row Arranges all the artboards in a single row.

Arrange by Column Arranges all the artboards in a single column.

Layout order Arranges the artboards from left to right or right to left.

 Transparency options
Determines what happens to transparent objects when you choose a version of
Illustrator format earlier than 9.0. Select Preserve Paths to discard transparency
effects and reset transparent artwork to 100% opacity and Normal blending mode.
Select Preserve Appearance And Overprints to preserve overprints that don’t
interact with transparent objects. Overprints that interact with transparent objects
are flattened.

✔ Use layers

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● Using the layer panel

Layers are like transparent folders for managing content. Layers contain the images, text, or
artwork that make up a layered file.

The Layers panel is usually located on the right side of the work area. If it’s not visible,
choose Window > Layers to open it.

Each new document starts with a single layer named Layer 1.

To select a layer, click the layer in the Layers panel.

Drag a layer up or down in the Layers panel to change the order of layered objects in the
document.

● Creating, editing layers and sublayers

To create a new layer, click the Create New Layer button at the bottom of the Layers panel.

To rename a layer, double click the layer name in the Layers panel, change the name, and
press Enter (Windows) or Return (Mac OS).

Creating sublayers, select the layer that has the sublayer in list of layers from Layers panel
and then click on Create New Sublayer icon which is located at bottom of Layers panel.

To rename a sublayer, double click on that sublayer in the Layers panel, change the name, and
press Enter (Windows) or Return (Mac OS)

● Modifying and saving a project in adobe illustrator

If your document contains more than one artboard and you want to save to a previous version
of Illustrator, you can choose to save each artboard as a separate file or combine the content
from all artboards into a single file.
1. Choose File > Save As or File > Save As or File > Save A Copy.
2. Type a filename, and choose a location for the file.
3. Choose Illustrator (*.AI) as the file format, and click Save.
In the Illustrator Options dialog box, set the desired options and click OK

 Version
Specifies the version of Illustrator with which you want your file to be compatible.
 Subset Embedded Fonts When Percent Of Characters Used Is Less Than

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 Specifies when to embed the entire font (as opposed to just the characters used in
the document) based on how many of the font’s characters are used in the
document. For instance, if a font contains 1,000 characters but the document only
uses 10 of those characters, you may decide that embedding the font is not worth
the extra file size.
 Create PDF Compatible File
Saves a PDF representation of the document in the Illustrator file. Select this option
if you want the Illustrator file to be compatible with other Adobe applications.
 Include Linked Files
Embeds files that are linked to the artwork.
 Embed ICC Profiles
Creates a color-managed document.
 Use Compression
Compresses PDF data in the Illustrator file. Using compression increases the time
required to save the document, so deselect this option if you’re experiencing very
slow (8 to 15 minute) save times.
 Save Each Artboard To A Separate File
Saves each artboard as a separate file. A separate master file that includes all of the
artboards is also created. All of the content that touches an artboard is included
with the file for that artboard. If artwork needs to be shifted to fit it onto a single
artboard, a warning appears to let you know. If you don’t select this option, the
artboards are combined into a single document and are converted to object guides
and (in Illustrator CS3) crop areas. The artboard used for the saved file is based on
the size of the default document startup profile.

 Transparency options
Determines what happens to transparent objects when you choose a version of
Illustrator format earlier than 9.0. Select Preserve Paths to discard transparency
effects and reset transparent artwork to 100% opacity and Normal blending mode.
Select Preserve Appearance And Overprints to preserve overprints that don’t
interact with transparent objects. Overprints that interact with transparent objects
are flattened.
Creating sublayers, select the layer that has the sublayer in list of layers from Layers panel
and then click on Create New Sublayer icon which is located at bottom of Layers panel.

To rename a sublayer, double click on that sublayer in the Layers panel, change the name,
and press Enter (Windows) or Return (Mac OS).

● Moving layers

To move a layer, use the following steps:

1. Select the layer you want to move

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 2. Drag the layer in Layers panel until you reach where the proper position and then drop
the mouse.

● Merging layers

To merge the layers, you can follow the following steps when the Layers panel is visible:

1. Select the layers you wish to merge. You must select at least two. To select multiple
layers, hold down Shift (sequence of layers) or Ctrl (multi-select) on your keyboard
while clicking on layers. Fun fact: Layers don't need to be visible to merge.

2. Once you've selected your layers, click on Layer Panel Options and choose Merge
Selected.

● Arranging layers
To arrange layers, use the following steps:

1. Select the layer you want to move

2. Drag the layer in Layers panel until you reach where the proper position and then
drop the mouse.

Indicative content 2.2: Create vector paths

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✔ Using Path types
Select the Type on a Path tool by clicking and holding the Type Tool and selecting Type on

a Path tool.

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Now that you have your Type on a Path tool selected, you can click anywhere on the circle

path you have created to create your text. I like to start from one of the nodes, as that way you

are starting your text from an even position.

✔ Using Pen tool

To start using the Illustrator CC Pen Tool, go to the Toolbar and select the Pen Tool (P) to
begin drawing.

An example of creating the straight line with pen tool

 Select the Pen Tool

 Click and release on your Artboard to create the first Anchor Point (also known as the
original Anchor Point).
 If you want to create perfectly straight lines, all you need to do is hold Shift while
following Step 3 instructions.

✔ Using Control handles

If the Control handles is not available, you need to switch on by clicking on
Window>Controls.
It helps you to apply the stroke color and weight, fill color, opacity, styles and etc.

✔ Using the Selection tool

Selection Tool is the most basic tool which lets the user select any object by dragging or
clicking on it.

✔ Using the Scale tool

 Click the Scale tool or press S to select it.

 To maintain the object's proportions, press and hold Shift as you drag the pointer.
 To scale the object along a single axis, press and hold Shift as you drag vertically or
horizontally.
 To customize your scale dimensions, double-click the icon and enter specific values in
the Scale dialog.
✔ Using the Rotate tool

The Rotate tool lets you turn an object around a fixed point.
Use these steps to rotate an object:
1. Select one or more objects with the Selection tool.

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 2. Click the Rotate tool or press R.
3. Drag to rotate the object around its center point.
4. To set a different center point, click anywhere on an artboard or the canvas.
✔ Using the Direct selection tool

The Direct Selection tool lets you select, move, or modify specific points or path segments in
a path or a shape.

You use the following steps:

1. Click the Direct Selection tool or press A.

2. Select the object to view its anchor points and path segments.
3. Click an anchor point to select it, or Shift + Click to select multiple anchor points,
path segments, or both.
4. Drag the anchor point, handle, or path segment to change the shape of your object.
 Indicative content 2.3: Design shapes

The steps used to draw line:

1. Click the Line Segment tool or press \.
2. Drag to create a line on the artboard. To create a straight line, drag mouse while you
press on shift key from the keyboard.
Rectangles

The Rectangle tool lets you create rectangular and square shapes in your artwork.

The steps used to draw the rectangle are:

1. Click the Rectangle tool or press M to select it.

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 2. Drag on the artboard to draw a rectangle. Press and hold Shift while you drag to
draw a square.
3. Press and hold Alt while you drag to draw a rectangle from the center.
4. Press and hold Shift + Alt (Windows), Shift + Opt (Mac OS) to draw a square from the
center.
5. To specify dimensions in points, select a rectangle and enter height and width values
in the Rectangle section of the Properties panel.
Ellipses

The Ellipse tool lets you create ellipses and circles in your artwork.

The steps used to draw the ellipse are:

1. Click the Ellipse tool or press L

2. Click and drag on the artboard.
3. To specify the ellipse dimensions, select and enter the height and width values in the
Properties panel.

Polygons

The Polygon tool lets you create polygon and triangle shapes in your artwork.

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The steps used to draw the polygon are:
1. Click and hold the Rectangle tool and then click the Polygon tool.
2. To align the edges of the polygon, press Shift and then drag the pointer.
3. Press the Up Arrow and Down Arrow keys to add and remove sides from
the polygon.
4. To customize polygon dimensions, select the polygon and specify height and width
values in the Properties panel.

Stars

The Star tool lets you create pointed shapes in your artwork.

The steps used to draw the star are:

1. Select the Star tool.

2. Drag on the artboard to create a five-pointed star.
3. To change the number of points, use the Up Arrow and Down Arrow keys while
dragging.
To create a star manually instead, click anywhere on the artboard and enter
values for Radius and Points.
● Using Pencil tool for freehand drawing

The Pencil tool lets you create freeform shapes and lines in your artwork.

Follow these steps for using the pencil tool:

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Follow these steps for using the pencil tool:

1. Click the Pencil tool or press N.

2. Drag to draw your freeform shape on the artboard.
3. Drag the anchor points that appear on the path to define the shapes.
✔ Modifying shapes and paths
● Drawing modes

You can cycle through the drawing modes by pressing Shift+D.

Illustrator has three different drawing modes available that are found at the bottom of the
toolbar: Draw Normal, Draw Behind, and Draw Inside. Drawing modes allow you to draw
shapes in different ways. The three drawing modes are as follows:

 Draw Normal mode: You start every document by drawing shapes in Normal mode,
which stacks shapes on top of each other.
 Draw Behind mode: This mode allows you to draw behind all artwork on a selected
layer if no artwork is selected. If artwork is selected, the new object is drawn directly
beneath the selected object.
 Draw Inside mode: This mode lets you draw objects or place images inside other
objects, including live text, automatically creating a clipping mask of the selected
object.

● Creating compound paths and shapes

To create compound paths, you need to use the “Pathfinder” Palette. If you followed my
earlier instructions the Pathfinder Palette can be found in your Floating Palette to the right of
the screen.
If not, you can add it by going to the Window drop down menu at the top of your screen,
selecting “Path Finder” and then clicking on the palette that appears and dragging it onto the
Floating Palette.

Compound Paths and Shapes differ in that the shapes are editable after they have been
compounded when they are selected with the direct selection tool.

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To make a compound shape instead of a compound path simply hold down the Alt button while
you click on the Compound Button you want to use.

Examples of Compound Paths/Shapes

Draw some basic shapes using the tools in the tool bar and give each one a different color.
Layer them on top of each other in the art board.

To get a better idea of what each pathfinder function does, click the buttons to see what happens
to your shapes. Below is a description of each function.

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Using Compound Paths

Compound Paths can be used to create more complex shapes. In this example we are going to
make a simple USB stick, but you could use them to create a self-portrait or a landscape
drawing.

1) Firstly, draw a large rectangle. This doesn’t have to be accurate, but should resemble the
main body of a standard USB stick. Put a radius on the corners

2) On the end, draw another rectangle resembling the metal port that is inserted into the
computer, overlapping the first rectangle.
3) On the other end of your first rectangle, draw a circle overlapping the rectangle.

4) In the centre of that, draw another circle, concentric to the first.

5) Back on the other side, draw two small squares of the same size, and align them
horizontally to each other.
You now have your basic shape.

6) Select your first and second rectangles and the larger of your two circles. From the
Compound Paths Palette select “Unite”

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7) Select your USB shape and the two small squares and the small circle. From the
Compound Paths Palette select “Minus Front”

● Using the Brush tool

The Brushes panel (Window > Brushes) displays brushes for the current file. Whenever you
select a brush in a brush library, it is automatically added to the Brushes panel. Brushes that
you create and store in the Brushes panel are associated only with the current file, which means
that each Illustrator file can have a different set of brushes in its Brushes panel.

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● Working with the Pathfinder panel
To access the Pathfinder Tool, you can head to the Window dropdown menu and find the
Pathfinder tool. Alternatively, you can also press Shift + Ctrl + F9 to access the tool.

The tools used to edit shapes are located in the top row of the Pathfinder menu.

 Add to Shape Area / Unite: You can use this option to add areas of selected

components with the geometry.

 Subtract from Shape Area / Minus Front: This option helps you cut out the shape of

a component from the geometry behind it.

 Intersect Shape Areas: You can use selected areas of a component to clip the

geometry similar to a mask tool.

 Exclude: You can use this option to invert the geometry. The option lets you turn

holes into filled regions and vice-versa.

Applying Effects in Pathfinder

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 If you want to use your overlapping objects to create new shapes, the Pathfinder tool

lets you do that. You can make use of the Pathfinder Panel or the Effects menu to get

access to all the effects.

Add: This option lets you accurately trace the outline of all objects and treats them as a
singular merged the object.

Intersect: The Intersect tool lets you trace the outline of a region in your illustration, even if
other objects overlap it. Here is an example of two objects before and after being intersected.
Exclude: Non-overlapping areas of objects can be traced, and it also makes all the overlapping
areas transparent. If you overlap an even number of objects, the overlap becomes
transparent. However, selecting an odd number of objects will make the overlap filled.
Subtract: The frontmost object from your shapes is removed from the backmost object. The
tool is handy for deleting areas of illustrations by stacking the order in which they appear.
Minus Back: The frontmost object has all the objects behind it removed. This option is used
for deleting areas of an illustration by making adjustments to the stacking order.
Divide: You can use this option to separate component-filled faces from a piece of artwork. A
face in this context is defined as any area that is not divided by line segments. To make the
most of the Divide tool in the Pathfinder panel, you should use Group Selection or Direct
Selection. Both options will allow you to manipulate faces to either preserve or delete unfilled
objects using the command.

Trim: You can remove part of a hidden filled object. All strokes that do not merge with the
selected objects of the same color are removed.

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Merge: The merge tool is used to remove parts of hidden filled objects. It can also remove
strokes from overlapping or adjoining objects that have been filled using the same color.
Crop: You can break down a piece of artwork into component-filled faces. Once each part has
been cropped out, you can also delete parts of the artwork that do not fall within the
boundary placed at the top. Extra strokes are also automatically removed.
Outline: The outline option lets you divide an object into edges or line segments. You should
use this command for preparing any type of artwork that needs overprinting objects or traps.
Hard Mix: This option lets you combine colors and automatically chooses the highest value of
all selected color components.
Soft Mix: All underlying colors are made visible by overlapping your artwork. The setting also
lets you divide an image into multiple components’ faces. You can specify the amount of
visibility you want from the overlapping colors.
Trap: The trap option automatically compensates for any gaps in your artwork. The two
adjoining colors in each gap are merged to perfect your illustration. Here is an example below.

● Using the Eraser tool

Click and hold anywhere over your image and drag the eraser tool which is located in Tool
panel to start erasing. A white area indicates the changes you’re making. Release the mouse
button to apply the change to the area, cutting the vectors where you’ve drawn. Press and
hold “Alt” while dragging to create a rectangular shape that cuts in a straight line. Double-
click to apply the transformation. Repeat this until the image and your objects match what
you want to see.

● Using the anchor points

You may know there are three main kinds of anchor points: Curve points, that have a smooth
curve going in and coming out; Corner points, which have a sharp angle between two straight
line segments; “Hybrid” points, curved on one side, straight on the other. Converting between
them is easy, but using the tool may take a little practice.

● Using the Shape Builder tool

To create a shape using the Shape Builder tool, do the following:
1. Create the shapes on which you want to apply the Shape Builder tool.
2. Using the Selection tool, select the paths that you need to merge to create the shape.

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 Note: Make sure that you select only those paths on which you need to apply the tool.
If you select all the paths before merging, then there would be a performance
overhead.

3. Select the Shape Builder tool from the Tools panel or press Shift+M. By default, the
tool is in merge mode, where you can combine different paths. The pointer in this mode
appears as .
4. Identify the region that you want to extract or merge.
5. To break or extract the region from the rest of the shape, move the pointer and click the
selected region.
Additional anchor points are introduced where the shapes break up.

 The art style of the object from where the mouse drag was initiated is applied to the
merging shapes.
 If no art style is available on mouse down, then the art style available on mouse release
is applied to the merging shapes
 Transforming objects
● Scaling objects
Scale objects with the bounding box

1. Select one or more objects.

2. Select the Selection tool or the Free Transform tool .
3. Drag a bounding box handle until the object is the desired size. Objects scale relative
to the opposite handle of the bounding box.
4. Do any of the following to control the scaling behavior:
o To maintain the object’s proportions, hold down Shift as you drag.
o To scale relative to the object’s center point, hold down Alt (Windows) or
Option (Mac OS) as you drag.

Scale objects to a specific width and height

1. Select one or more objects.

2. In the Transform panel, enter a new value in the Width (W) or Height (H) box, or
both.
You can do any of the following before you enter a value to control the scaling
behavior:

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  To maintain the objects’ proportions, click the lock proportions button .
 To change the reference point for scaling, click a white square on the reference
point locator .
 To scale stroked paths and any size-related effects along with the object, select
Scale Strokes & Effects from the panel menu.
● Rotating objects

Rotate an object with the Free Transform tool

1. Select one or more objects.
2. Select the Free Transform tool .

Merging closed regions using the Shape Builder tool. The marquee region appears
when you move the pointer over a closed region.
6. To merge paths, drag along the region and release the mouse, the two regions get
merged to form a new shape.

Drag along the region to merge

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 New shape after merging
The art style that the new shape inherits, depends on the following rules:

3. Position the pointer anywhere outside the bounding box so that the pointer
changes to , and then drag.
Rotate an object with the Transform panel
1. Select one or more objects.
2. Do one of the following:
 To rotate the object around its center point, enter a value for the Angle option in
the panel.
 To rotate the object around a different reference point, click a white square on
the reference point locator in the panel, and enter a value for the Angle
option.
Tip: You can also call up the Transform panel by clicking X, Y, W, or H in the
Control panel.
3. You can rotate a symbol around its registration point, using the Transform panel.
● Reflecting objects

Reflect an object with the Free Transform tool

1. Select the object to reflect.
2. Select the Free Transform tool .
3. Do one of the following:
 Drag a handle of the bounding box past the opposite edge or handle until the object is
at the desired level of reflection.
 To maintain the object’s proportions, hold down Shift while dragging a corner handle
past the opposite handle.
● Distorting objects

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 Distort objects with the Free Transform tool

1. Select one or more objects.

2. Select the Free Transform tool .
3. Start dragging a corner handle on the bounding box (not a side handle), and then do
one of the following:
 Hold down Ctrl (Windows) or Command (Mac OS) until the selection
is at the desired level of distortion.
 Hold down Shift+Alt+Ctrl (Windows) or Shift+Option+Command
(Mac OS) to distort in perspective.
4. Position the pointer anywhere outside the bounding box so that the pointer
changes to , and then drag.
Rotate an object with the Transform panel
4. Select one or more objects.
5. Do one of the following:
 To rotate the object around its center point, enter a value for the Angle option in
the panel.
 To rotate the object around a different reference point, click a white square on
the reference point locator in the panel, and enter a value for the Angle
option.
Tip: You can also call up the Transform panel by clicking X, Y, W, or H in the
Control panel.
6. You can rotate a symbol around its registration point, using the Transform panel.
● Reflecting objects

Reflect an object with the Free Transform tool

4. Select the object to reflect.
5. Select the Free Transform tool .
6. Do one of the following:
 Drag a handle of the bounding box past the opposite edge or handle until the object is
at the desired level of reflection.
 To maintain the object’s proportions, hold down Shift while dragging a corner handle
past the opposite handle.
● Distorting objects
Distort objects with the Free Transform tool

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 4. Select one or more objects.
5. Select the Free Transform tool .
6. Start dragging a corner handle on the bounding box (not a side handle), and then do
one of the following:
 Hold down Ctrl (Windows) or Command (Mac OS) until the selection
is at the desired level of distortion.
 Hold down Shift+Alt+Ctrl (Windows) or Shift+Option+Command
(Mac OS) to distort in perspective.

● Moving and duplicating objects

There is also a useful command Transform again (Command/ Ctrl + D) in the menu Object >
Transform >…. Let us see the practicality of this command. Select the object, then go to the Object
> Transform > Move… and set the move value in the dialog box; then click on Copy button.

✔ Manipulating fills and strokes

● Adding color fill
You can apply one color, pattern, or gradient to an entire object, or you can use Live Paint
groups and apply different colors to different faces within the object.

1. Select the object.

2. Click the Fill box in the Tools panel or the Color panel. Doing so indicates that you want
to apply a fill rather than a stroke.

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● Creating and using gradient fills
A gradient is a graduated blend of two or more colors or tints of the same color.

You can use gradients to create color blends, add volume to vector objects, and add a light and
shadow effect to your artwork. In Illustrator, you can create and apply a gradient using the
Gradient panel, the Gradient tool, or the Control panel.
In Illustrator, you can create the following three types of gradients:
Linear: Use this gradient type to blend colors from one point to another in a straight line.
Radial: Use this gradient type to blend colors from one point to another point in a circular
pattern.
Freeform: Use this gradient type to create a graduated blend of color stops within a shape in
an ordered or random sequence such that the blending appears smooth and natural.
Freeform gradient can be applied in two modes:
o Points: Use this mode to shade the area around a color stop.
o Lines: Use this mode to shade the area around a line.

Create and apply a linear gradient

To create a linear gradient, do one of the following:

 Click the Gradient tool and then click the object on the canvas. The Gradient Type
buttons are displayed in the Control panel or Properties panel. With the object
selected, click Linear Gradient to apply the Linear gradient on the object.
 In the Gradient panel, click Linear Gradient.
 In the Properties panel, click Linear Gradient in the Gradient section.
Create and apply a radial gradient

To create or apply a radial gradient, do one of the following:

 Click the Gradient tool and then click the object on the canvas. The Gradient Type
buttons are displayed in the Control panel or Properties panel. With the object
selected, click Radial Gradient to apply the Radial gradient on the object.
 In the Gradient panel, click Radial Gradient.
 In the Properties panel, click Radial Gradient in the Gradient section.

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 Create and apply a freeform gradient

To create and apply a freeform gradient, do one of the following:

 Click the Gradient tool and then click the object on the canvas. The Gradient Type
buttons are displayed in the Control panel or Properties panel. With the object
selected, click Freeform Gradient to apply the Freeform gradient on the object.
 In the Gradient panel, click Freeform Gradient.
 In the Properties panel, click Freeform Gradient in the Gradient section.
 After you click Freeform gradient, the following two options are available:
o Points: Select this option if you want to create color stops as independent
points in the object.
o Lines: Select this option if you want to create color stops over a line segment
in the object.
● Adding strokes to objects

1. Select the object.

2. Click the Stroke box in the Tools panel. Doing so indicates that you want to apply a
stroke rather than a fill.

✔ Using the Swatches panel

You use the Swatches panel (Window > Swatches) to control all document colors, gradients,
and patterns. You can name and store any of these items for instant access. When a selected
object’s fill or stroke contains a color, gradient, pattern, or tint applied from the Swatches
panel, the applied swatch is highlighted in the Swatches panel.

✔ Using the color panel

You use the Color panel (Window > Color) to apply color to an object’s fill and stroke, and also
to edit and mix colors. The Color panel can display color values using different color models.
By default, only the most commonly used options are visible in the Color panel.

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A. Fill color B. Stroke color C. panel menu D. None box E. Color spectrum
bar F. Color slider G. Text box for a color component
Select colors using the Color panel
1. Select the color mode you want to use from the panel menu. The mode you select affects
only the display of the Color panel; it does not change the color mode of the document.
2. Do one of the following:
o Drag or click in a slider.
o Shift-drag a color slider to move the other sliders in relation to it (except for
HSB sliders). This keeps a similar color but with a different tint or intensity.
o Enter values in any of the text boxes.
o Click in the color spectrum bar at the bottom of the panel. To select no color,
click the None box at the left of the color bar; to select white, click the white
swatch at the upper-right corner of the color bar; to select black, click the black
swatch at the lower-right corner of the color bar.
✔ Picking color from image

Click and hold with the Eyedropper tool anywhere in your Illustrator document, then
drag to the color you want to sample outside of Illustrator, and release. This adds the
color to your color panel, to the fill or stroke, depending on whichever is active.

Or, you can start by selecting the object you want to add the color to in Adobe Illustrator,
then click and hold with the Eyedropper tool and drag to the color outside Illustrator,
and release to color the selected object.

✔ Using opacity
Opacity is found in the Appearance panel within the Properties panel.

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Click the arrow to the right of the 100% opacity indicator. This will pop the opacity slider
open.

Drag the slider until your shape reaching the opacity level you want.

You’ll be able to see what your translucent shape looks like against other shapes.
To change the opacity of text, follow the same steps as for a shape.

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 1. Select your text.
2. Adjust the opacity in the appearance panel.
✔ Using Type tools
The Type tool lets you add text to your designs.

The Type tool lets you add text to your designs.

1. Click the Type tool or press T.

2. Point type: To add text at a point, click where you want the line to begin and start
typing.
3. Paragraph type: To create a rectangular container for longer text like paragraphs, drag
to make a bounding box.
4. Area type: To use a closed object's shape as a type area, click its path with the Type
tool selected.
5. To add a line break, press Return (macOS) or Enter (Windows).
✔ Using the Type Command

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✔ Using the character style panel
A Character style is a collection of character formatting attributes that you can apply to a
selected range of text.
Use Character styles to save time and ensure consistent formatting throughout your
artwork. Follow these steps to easily create a new Character style:
1. Select text.
2. Select Window > Type > Character styles to open Character styles panel.
3. Click Create New Style button to create a style with the selected text format.
✔ Flowing type around objects

To flow text around a shape with Adobe Illustrator, make sure that your shape is
positioned above the text, then select both the text and the shape and navigate
to: Object > Text Wrap > Make.

The following steps will guide you through the process of flowing your text around an object
with Illustrator whether it be a shape, photo, logo, icon, or whatever else.

For a more immersive learning experience, be sure to check out the video tutorial that I put
together:

Step 1: Generate Some Text

The first thing we’re going to do is generate some text on the artboard.

For this demonstration I will be using some placeholder Lorem Ipsum text, but you can use
whatever text you’d like. If you’d just like to follow along with what I’m doing, then you can
find some placeholder text to copy and paste.

Grab the Type Tool (keyboard shortcut: T) and click and drag a bounding box where you’d
like the text to be on your artboard.

It’s important that your shape be positioned on top of your text, otherwise you will not get
the desired result.
To position your shape above the text, simply right-click it and navigate to: Arrange > Bring
to Front. Or you can use the keyboard shortcut, which is Control + Shift + ].

Step 3: Wrap Your Text

Once you have your text and object in place you are now clear to wrap your text.

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To flow text around a shape with Adobe Illustrator, select both the text and the shape at the
same time, then navigate to: Object > Text Wrap > Make.

This will make it so that your text wraps around the object:The Wrap Text feature allows you
to flow your text around a shape with Adobe Illustrator.

Step 4: Make Any Necessary Adjustments

One of the biggest benefits of using Illustrator to wrap your text around shapes is that you can
make adjustments to the shapes in real time without affecting the text.

✔ Setting Type onto path

Type on a path flows along the edge of an open or a closed path. When you enter text
horizontally, the characters are parallel to the baseline. When you enter text vertically, the
characters that are perpendicular to the baseline. In either case, the text flows in the direction
in which points were added to the path.
Enter text on a path
1. Do one of the following:

 To create horizontal text along a path, select the Type tool or the Type On
A Path tool .

 To create vertical text along a path, select the Vertical type tool or the
Vertical Type On A Path tool .
2. (Optional) Set text-formatting options in the Control panel, Character panel, or
Paragraph panel.
3. Position the pointer on the path, and click.
Note: If the path is closed, rather than open, you must use the Type On A Path tool.
4. Enter the text.

5. When you finish entering text, click the Selection tool to select the type object.
Alternatively, Ctrl-click (Windows) or Command-click (Mac OS) the text.
Move or flip text along a path
1. Select the path type object.
A bracket appears at the beginning of the type, at the end of the path, and at the midpoint
between the start and end brackets.
2. Position the pointer over the type’s center bracket until a small icon appears next to
the pointer .
3. Do one of the following:
 To move text along the path, drag the center bracket along the path. Hold down Ctrl
(Windows) or Command (Mac OS) to prevent the type from flipping to the other side
of the path.

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 Moving type along a path
 To flip the direction of text along a path, drag the bracket across the path. Alternatively,
choose Type > Type On A Path > Type On A Path Options, select Flip, and click OK.

Flipping type along a path

Apply effects to type on a path

Path type effects let you distort the orientation of characters on a path. You must first create
type on a path before you can apply these effects.
1. Select the path type object.
2. Do one of the following:
 Choose Type > Type On A Path and select an effect from the submenu.
 Choose Type > Type On A Path > Type On A Path Options. Then select an
option from the Effect menu, and click OK.
Note: Applying the Gravity effect to text on a perfectly circular path creates a result
that looks like the default Rainbow effect. It performs as expected on paths that are
oval, square, rectangular or otherwise irregularly shaped.

Path type effects

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✔ Converting text into path
To convert text into path, follow these steps:
1. Select the Selection tool and click to select a text object.
2. Choose Type > Create Outlines to convert the text to editable paths.
3. Click the Ungroup button in the Properties panel to be able to move the letters
independently.
4. With the Selection tool, drag each letter separately.
5. Select the Direct Selection tool and drag across part of a letter to select anchor points.
6. Drag one of the selected anchor points to move all selected anchor points and re-
shape a letter.

Indicative content 2.4: Description of brand identity

✔ Brand
A brand is an intangible marketing or business concept that helps people identify a company,
product, or individual.

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A brand is any name, design, style, words or symbols used in singularly or in combination
that distinguish a product from other in the eyes of the customer.

✔ Brand identity
Brand identity is the visible elements of a brand, such as color, design, and logo, that identify
and distinguish the brand in consumers' minds.

✔ Brand icon
Brand icon is a symbol that conveys strong, universal values and ideas that make it
immediately recognizable. Essentially, it’s a straightforward and bold representation of a
company.
✔ Brand identity guidelines
Brand identity guidelines are a tool to help ensure consistent implementation of identity
elements in order to protect your brand across all touchpoints. They bring your brand
platform, identity system, messaging, and personas together in one place so that anyone
touching your brand understands how to properly represent it.
we’ve outlined nine steps to build brand identity guidelines that will elevate the perception
of your brand in the minds of your customers.

Step 1: Set a goal for your brand identity guidelines

Every business should have guidelines in place to maintain consistency and protect their
brand, but different industries, audiences, and regions bring specific, unique challenges.
The first step toward creating strong brand identity guidelines is setting specific goals for
your guidelines.

Step 2: Define your users

A number of people view, interact with, and promote your brand on any given day. Your
audience for your brand guidelines is made up of anyone representing your brand in any
way, either working for your business or working with your business, which can be a pretty
big group. Before you dive too deep into developing your brand identity guidelines, be sure
to have a clear idea of who these users are, so you can shape your guidelines to better meet
their needs.

Common users of your brand include:

 EMPLOYEES
Brand guidelines can be especially useful for new employees, acting as an employee
handbook of sorts. Brand identity guidelines can help employees understand the ways in
which they should or should not represent the brand inside and outside of work, before they
misrepresent it by mistake.

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  PARTNERS AND AGENCIES
Any third-party partners you work with, like distributors or marketing agencies, need to
understand your brand identity guidelines to positively represent your brand on any
touchpoint for which they’re responsible.

Understanding what assets these partners need to successfully represent your brand—like
your visual identity, target buyer personas, voice and tone, key messages, or core values
and mission—can help set your brand up for long-term success.

Step 3: Choose a format

Brand identity guidelines come in many formats. You’ll want to choose the format that
makes the most sense for your users. Will you house your brand identity guidelines in a
PDF, on a website, or some combination of the two? Will they be publicly accessible, or
only available to a select few individuals? Discuss these questions with your team early on,
and then work diligently to develop a brand guideline experience that your users can
navigate with ease.

In our digital society, it’s no surprise that many modern brand identity guidelines are
available online. Online resources make your brand guidelines more easily accessible,
which increases the chance of it being represented correctly.

Whatever format you choose, make sure your brand identity guidelines are easily
accessible, easy to understand, and, most importantly, accurate and up-to-date.

Step 4: Determine the contents of your brand guidelines

Determining the contents of your brand guidelines means deciding upon the various brand
elements you want to include in your brand identity guidelines. Most commonly, brand
guidelines include the following components:

BRAND PLATFORM
A brand platform includes your brand purpose, core values, mission, vision, brand position,
brand attributes, and brand promise. These components cover the basics about who you are,
and what your brand is all about. They define the overarching story your brand tells.

KEY MESSAGES AND VOICE

Key messages and voice shape how your brand presents itself through language. These
include guidelines for word choice, voice and tone, and even a structured elevator pitch for
your brand. Your key messages help provide specific and intentional guidelines around
how others can describe and promote your brand, as well as what they shouldn’t say about
you.

VISUAL IDENTITY

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Your brand’s visual identity is made up of a number of elements, including:

 Logo Usage Guidelines

 Iconography and Graphic Styles
 Color Palette
 Typography Guidelines
 Photography Guidelines
 Template Guidelines
Understanding and communicating how to visually represent your brand best is an
important factor in developing strong brand identity guidelines. Depending on your
audience, your visual identity is the first interaction your audience has with your brand,
making it one of the more important sections of your guidelines.

PERSONAS AND AUDIENCE JOURNEYS

It’s difficult to share a brand’s story without knowing who to share it with. Personas and
buyer journeys help your brand stewards understand how best to convey your brand and
connect with key audiences.

Personas help paint a clear picture of who your audience members are so your stewards
know who they’re speaking to. Most personas include:

 Persona Name and Job Title or Role

 Age Range, Income, and Degree
 3-5 Personality Traits (e.g., practical, strategic, driven)
 Short Bio
 Challenges
 Decision-Drivers
 Questions
The more you understand the person you’re targeting with your brand, the more your brand
will continue to resonate with the right people.

Step 5: Define specific usage rules

Just as important as communicating how to best use your brand is communicating
how not to use your brand. Usage rules refer to variations in type treatment, logo and color
usage, and messaging guidelines.

TYPE TREATMENT
Brand identity guidelines should include usage rules around acceptable brand fonts. Most
brands have standard fonts chosen for headlines, subheads, and body text, or have
specifications around fonts used in digital formats, like an email newsletter. Your brand

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guidelines should provide clear examples of how to correctly use brand fonts. It should also
include clear guidelines about which specific font uses or type treatments are not allowed.

LOGO AND COLOR VARIATIONS

Your brand logo and color palette were specifically designed to positively represent your
brand and its mission, so you don’t want to misuse them. Your brand identity guidelines
should include a few “don’t” examples in regard to your logo and color palette, such as:
don’t change the colors, don’t use the colors in certain ways, don’t make the logo semi-
transparent, and don’t rotate or play with the logo’s scale. These recommendations will
help maintain the integrity of your brand.

 MESSAGING REQUIREMENTS
The way you talk about your brand matters, which is why it’s important to have specific
messaging requirements available within your brand identity guidelines.

Depending on the industry or company you work for, there may be certain language
requirements dictating what you or others can and cannot say about your brand. Or, you
may simply have preferences regarding the way you want your brand represented.

The more specific your usage rules, the less likely it is your brand will be misrepresented,
making it easier to manage brand consistency. And, as you know, brand consistency leads
to brand trust, which leads to an uptick in sales and an increase in your bottom line.

Step 6: Gather necessary identity elements

Once you know exactly what you want to include in your brand identity guidelines, as well
as who you want to share the guidelines with, it’s time to begin gathering the elements
you’ve defined.

The team working on the assets will often be the team developing the guidelines, so that
part is easy—but make sure you’re gathering all variations of all necessary components.
Grab your logo variations, typefaces, photography, personas, and any additional elements
you’ve outlined for use in your brand guide and share them with your team.

Step 7: Assemble the guidelines

This is the point at which you should begin assembling all the various elements of your
brand identity into one comprehensive guide. Brands are constantly evolving, so your brand
identity guidelines will need to regularly evolve, as well.

Routinely audit your brand identity guidelines to ensure they’re in line with any recent or
last-minute changes you’ve made to your brand. And, make sure whatever format you
choose to house your brand identity guidelines—a webpage, site, or document—allows for
evolution, too.

Step 8: Conduct brand training

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Just handing someone your brand guide isn’t enough. Training those who use your brand
helps them understand the importance of consistency and adhering to established brand
guidelines.

Brand training can take place internally, or it can include outside partners who use your
brand.

Step 9: Distribute guidelines to your audience

Finally, it’s time to share your new brand identity guidelines. Making your guidelines easily
accessible is step one. Then, establish clear lines of communication between your internal
team and implementers, managers, and partners of your brand. Distribute your brand
identity guidelines to the appropriate audiences and establish a process for ongoing
communication and distribution of brand updates.

✔ Logo
A logo is a graphic means that identifies a brand. Sometimes it's referred to as a trademark.
Your logo can consist of a symbol and a typographic wordmark, or even just a typographic
wordmark on its own in some cases. Because the logo identifies your brand, it's an incredibly
important strategic tool.
Logo is the primary visual representation of a brand. It offers consumers a visual first
impression, and its goal is to both convey the company’s message and be immediately
recognizable. Logos typically consist of a text treatment and often (but not always) a symbol,
called a “mark.” They may be small, but, much like worker ants, logos carry a lot of weight.
 Indicative content 2.5: Design infographics

✔ Icon

An icon is a graphic image, a small picture or object that represents a file, program, web
page, or command.

✔ Logo

A Logo is symbols with a combination of text and images that helps a user or customer
identify brands and differentiate between companies.

✔ Web banners
A web banner is a promotional advertisement that is displayed on websites or in search
engine results. These banners are usually used for branding purposes and are generally
cheaper than other types of online advertising, like pay-per-click ads.

✔ Flyer
A flyer is a small sheet of paper containing printed text that advertises an event, product, or
service.

✔ Description of design principals

Design principles are a set of values that act as a compass for your product. They’re an
agreed upon truth: the guideposts that keep your entire team on the same path as you move
through the design process. Design principles should be specific, nuanced, and actionable.
The fundamental principles of design are: Emphasis, Balance and Alignment, Contrast,
Repetition, Proportion, Movement and White Space.
1. Emphasis

The first of the 7 design principles is emphasis, referring to the focal point of a design and the
order of importance of each element within a design.
Say you’re creating a poster for a concert. You should ask yourself: what is the first piece of
information my audience needs to know? Is it the band? Or the concert venue? What about the
day and the cost of attending?

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Make a mental outline. Let your brain organize the information and then lay out your design in
a way that communicates that order. If the band’s name is the most essential information, place
it in the center or make it the biggest element on the poster. Or you could put it in the strongest,
boldest type.
2. Balance and alignment

Never forget that every element you place on a page has a weight. The weight can come from
color, size, or texture. Without balance, your audience will feel as if their eye is sliding off the
page.

Symmetrical design creates balance through equally weighted elements aligned on either side
of a center line. On the other hand, asymmetrical design uses opposite weights (like contrasting
one large element with several smaller elements) to create a composition that is not even, but
still has equilibrium.

3. Contrast

Contrast is what people mean when they say a design “pops.” It comes away from the page and
sticks in your memory. Contrast creates space and difference between elements in your design.
Your background needs to be significantly different from the color of your elements so they
work harmoniously together and are readable.

If you plan to work with type, understanding contrast is incredibly essential because it means
the weight and size of your type are balanced. How will your audience know what is most
important if everything is in bold?

4. Repetition

If you limit yourself to two strong typefaces or three strong colors, you’ll soon find you’ll have
to repeat some things. That’s ok! It’s often said that repetition unifies and strengthens a design.
If only one thing on your band poster is in blue italic sans-serif, it can read like an error. If three
things are in blue italic sans-serif, you’ve created a motif and are back in control of your design.

Repetition can be important beyond one printed product.

5. Proportion

Proportion is the visual size and weight of elements in a composition and how they relate to
each other. It often helps to approach your design in sections, instead of as a whole.

Grouping related items can give them importance at a smaller size, think of a box at the bottom
of your poster for ticket information or a sidebar on a website for a search bar. Proportion can
be achieved only if all elements of your design are well-sized and thoughtfully placed. Once
you master alignment, balance, and contrast, proportion should emerge organically.

6. Movement
Movement is controlling the elements in a composition so that the eye is led to move from
one to the next and the information is properly communicated to your audience. Movement

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creates the story or the narrative of your work: a band is playing, it’s at this location, it’s at
this time, here’s how you get tickets.
7. White space

All of the other principles of design deal with what you add to your design. White space is the
only one that specifically deals with what you don’t add. White space is exactly the empty page
around the elements in your composition.

White space isn’t sitting there doing nothing, it’s creating hierarchy and organization. It’s
telling our eyes that objects in one region are grouped separately from objects elsewhere.

✔ Create a brand identity guideline

 Analyse brand Mood

A necessary step in working with a brand is to analyze its target audience. We do this by
creating colorful mood boards.

 Determine typography
Typography is the strategic arrangement of type in order to make written language readable
and visually appealing. The art of typography is one of the most important skills every graphic
and web designer needs to master. It's central to every form of design, both print and digital.

Typography has two main purposes in graphic design. The first is to promote legibility, and
the second is to help communicate the messaging, tone, and sentiment of a design piece.
Another function of typography revolves around aesthetics. We're drawn to visually attractive
designs that are clean and easy on the eyes.

In contrast, if a design is busy, confusing, and causes us to strain our eyes, we run the other
way. Thus, it's in our best interest, and our clients', to learn how to effectively use typography
in graphic design.

The terms "typeface" and "font" are often used interchangeably. In fact, when most people say
"font," what they're really referring to is a typeface. As a graphic designer, it's important to
understand the difference between these terms.

A typeface is a family of fonts. Some familiar examples include Times New Roman, Arial, and
Brush Script. A font is a variation of a typeface, typically bold, italic, or a combination of the
two. Examples of fonts include Times New Roman Italic and Arial Bold.

 Determine color patterns

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Primary colors help consumers to quickly identify a brand. These are the core colors of the
brand. Commonly, primary colors are incorporated into a company’s logo. A company has
between 1-3 primary colors but there can be more if desired.

Combining colors is no easy task. That is why clearly stating how to work with multiple colors
is fundamental in a company’s brand guidelines.

 Monochrome: uses different tints, tones and shades of the primary color
 Accent color: a secondary color that best compliments the primary color

Monochrome
When creating a monochromatic palette from tints, tones and shades, it enables versatility and
cohesiveness. Furthermore, it stays true to the brand’s color while providing flexibility.

 Tints: uses white to lighten the color

 Tones: uses gray to dull the color
 Shades: uses black to darken the color

Accent color
A secondary color can be featured with a primary color as an accent color. The primary color
is still the dominant color but the secondary color is used in combination to draw attention.

 Determine spacing
 Determine shadows and line styles
 Specify logo usage
Logo usage guidelines should be part of every company’s brand guidelines because they offer
a way to exercise control over how a logo looks over different backgrounds, how it is oriented
over the page, the logo’s shape, logo type, proportion and more.
 Create Icons
● Sketching ideas

Sketching ideas are the first steps in the design process and something every designer should
do. Sketching is not just limited to designers; it occurs in many careers that require something
to get built. The beauty of sketching is that you are not required to be an artist to produce
them. Sketching is only to help discover and explain design concepts.

Sketches can be easily created using pen and paper or a whiteboard. Using something
permanent like a pen or marker is best. The idea is to keep your sketches fast, approximate
and dirty.

● Using basic shapes to build icon symbols

Use lines in logo design

Lines come in a variety of shapes and sizes. Don't get stuck in a rut.

 Vary the thickness of the lines.

 Make lines of dots, dashes, or combinations.

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  Look at the patterns that a series of lines make.
 Use lines to direct eye-flow.
 Use lines to form barriers.
 Use lines to indicate connections.

Use shapes in logo design

Everything has a shape but the basic shapes of circles, squares, and triangles can be very
effective in logo design, in part because of their simplicity. These shapes have certain sub-
conscious meanings as well.

 The circle is protective or infinite.

 The square denotes stability, equality, and honesty.
 The triangle suggests tension or conflict or action.

There are so many things you can draw using only circles, squares, or triangles. Group several
together to form interesting patterns.

Combine Lines and Shapes in Logo Design

You don't have to know how to draw to create some seemingly complex illustrations. The logo
designs and graphics shown here use only lines, circles, squares, triangles, and text.

● Apply color association

Color consistency

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Combining colors
The psychology behind color plays a huge role in our lives. Every day, we subconsciously
make associations in our brains that trigger positive or negative emotions.
1. Yellow & red
2. Black & yellow
3. Purple & pink
4. Blue & green
5. Orange & purple

● Adding shine, gloss, shadow, texture, bevelled edges, 3D, and transparency effects
1. Adding shine
2. Adding gross with illustrator
 Write out your text in your desired font.
 Create a white oval on top of your text
 Lower the opacity on the white oval (Window >> Transparency)
 Select the text, right-click it and "Create outlines"
 Select the text and the oval, now go to the pathfinder window (Window >>
Pathfinder)
 Select "Trim"
 Select the Direct Selection Tool (A) and click on the non-overlapping part of the
oval
 Delete it.
 You're done!
3. Adding shadow
1. Select an object or group (or target a layer in the Layers panel).

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2. Choose Effect > Stylize > glowing edge.
3. Set options and then click OK
4. Adding texture
 Draw shape(s) on it you want to add texture
 Open transparency panel
 In the right of thumbnail in transparency panel double click the gray space
 Go to file>place>click image you want to use as texture
 Click transparency thumbnail.
5. Beveled edges
Bevel: Add various combinations of highlights and shadows to a layer.

In bevelling and embossing, Contour allows you to sculpt the ridges, valleys, and bumps that
are shaded in the embossing process
1. Select a layer with the text and /or shape to edit
2. Go to layer panel, at the bottom of layer click fx (layer style)
3. Choose bevel &emboss
4. Adjust as you need
5. Tick preview to view the change on the object
6. Adding 3D
1. Select the object.

2. Choose Effect > 3D > Extrude & Bevel.

3. Click More Options to view the complete list of options, or Fewer Options to hide the
extra options

4. Select Preview to preview the effect in the document window

7. Adding transparency effects

1. Select an object or group (or target a layer in the Layers panel).

To change the opacity of a fill or stroke, select the object, and then select the fill or stroke in
the Appearance panel.

2. Set the Opacity option in the Transparency panel or Control panel.

✔ Create Logo
● Using Design considerations

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1. Simple
Simplicity makes a logo design easily recognizable, versatile and memorable. Good logos
feature something unexpected or unique, without being "overdrawn."

3. Timeless
Consist of designing a logo whose quality never decreased overtime.
4. Versatile
An effective logo works across a variety of media and applications. For this reason, logos
should be designed in vector format, to ensure that they scale to any size.
5. Meaning
One of the most important things to make a logo design success is its meaning or message.
Barely seeing a logo on a product or advertisement is not enough to make it memorable. More
than being a remarkable visual, it should be symbolically conveying some deeper meaning.
First, write your brand strategy statement on paper. Then, see if the logo is conveying it or not.
Redesign the logo if the purpose is lacking
6. Consistency
Logo must have all required information.
Brand consistency is the pattern of expression that affects what people think about your
company. The more consistent you’re messaging, the more consistent you’re branding
— whether via words, design, offerings or perspective. Your brand should build
awareness and develop trust and loyalty with customers.
7. Uniqueness
Uniqueness implies that a logo should be designed on a concept that has not been used
before by anyone.
● Selecting Types
1. Monogram logos (or letter marks)

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Monogram logos or letter marks are logos that consist of letters, usually brand initials. A
letter mark is a typography-based logo that’s comprised of a few letters, usually a company’s
initials. The letter mark is all about simplicity.

2. Wordmarks (or logotypes)

Similar to a lettermark, a wordmark or logotype is a font-based logo that focuses on a business’

name alone. Think Visa and Coca-Cola. Wordmark logos work really well when a company
has a succinct and distinct name. Google’s logo is a great example of this.

3. Pictorial marks (or logo symbols)

A pictorial mark (sometimes called brand mark or logo symbol) is an icon or graphic-based
logo. It’s probably the image that comes to mind when you think “logo”: the iconic Apple logo,
the Twitter bird, the Target bullseye.

4. Abstract logo marks

An abstract mark is a specific type of pictorial logo. Instead of being
a recognizable image like an apple or a bird, it’s an abstract geometric form
that represents your business. A few famous examples include the BP
starburst-y logo, the Pepsi divided circle and the strip-y Adidas flower.

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5. Mascots

Mascot logos are logos that involve an illustrated character. Often colorful, sometimes
cartoonish, and most always fun, the mascot logo is a great way to create your very own brand
spokesperson.

A mascot is simply an illustrated character that represents your company. Think of them as the
ambassador for your business. Famous mascots include the Kool-Aid Man, KFC’s Colonel and
Planter’s Mr. Peanut.

6. The combination mark

A combination mark is a logo comprised of a combined wordmark or lettermark and a pictorial

mark, abstract mark, or mascot. The picture and text can be laid out side-by-side, stacked on
top of each other, or integrated together to create an image. Some well-known combination
mark logos include Doritos, Burger King and Lacoste.

7. The emblem
An emblem logo consists of font inside a symbol or an icon; think badges, seals and crests.
These logos tend to have a traditional appearance about them that can make a striking impact,
thus they are often the go-to choice for many schools, organizations or government agencies.
The auto industry is also very fond of emblem logos.

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● Using basic shapes to build a logo symbols
Use lines in logo design

Lines come in a variety of shapes and sizes. Don't get stuck in a rut.

 Vary the thickness of the lines.

 Make lines of dots, dashes, or combinations.
 Look at the patterns that a series of lines make.
 Use lines to direct eye-flow.
 Use lines to form barriers.
 Use lines to indicate connections.

Use shapes in logo design

Everything has a shape but the basic shapes of circles, squares, and triangles can be very
effective in logo design, in part because of their simplicity. These shapes have certain sub-
conscious meanings as well.

 The circle is protective or infinite.

 The square denotes stability, equality, and honesty.
 The triangle suggests tension or conflict or action.

There are so many things you can draw using only circles, squares, or triangles. Group
several together to form interesting patterns.

Combine Lines and Shapes in Logo Design

You don't have to know how to draw to create some seemingly complex illustrations. The logo
designs and graphics shown here use only lines, circles, squares, triangles, and text.

● Selecting Logo motifs

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 1. Seal logo
A seal is a device for making an impression in wax, clay, paper, or some other medium,
including an embossment on paper, and is also the impression thus made. The original purpose
was to authenticate a document, a wrapper for one such as a modern envelope, or the cover of
a container or package holding valuables or other objects.

2. Ribbon
A ribbon is a thin band used primarily as decorative binding and tying. Ribbons are used for
innumerable useful, ornamental and symbolic...

3. Shield
Shield logos are often used for law enforcement and for car companies as well as for sports
teams.

A shield design can communicate stability, protection, longevity, tradition, solidity,

masculinity, toughness, boldness, confidence, no retreat, no surrender. A crest design says
tradition, traditional, official, historical, strong, solid, and credentialed.

1. Swirls and swooshes

One of the most famous logos in the world is the Nike ‘Swoosh’. That ever familiar simple line
drawing with flowing curves that looks great on a pair of sneakers or your favourite sports
jersey. Unfortunately, the term ‘swoosh’ is used for perhaps one of the most popular logo
design cliche’s in existence.

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 1. Custom shapes
Our own shapes

● Tracing image

The workflow to vectorize a raster image now produces much cleaner tracings. The output has
fewer paths and anchor points, and better color recognition than the Live Trace feature in
previous versions.

1. Using image trace panel of illustrator

2. By selecting image> go to object>image trace>make or make and expand

● Using typography

Typography is the strategic arrangement of type in order to make written language readable
and visually appealing. The art of typography is one of the most important skills every graphic
and web designer needs to master.

Typography has two main purposes in graphic design. The first is to promote legibility, and
the second is to help communicate the messaging, tone, and sentiment of a design piece.
Another function of typography revolves around aesthetics. We're drawn to visually attractive
designs that are clean and easy on the eyes. In contrast, if a design is busy, confusing, and
causes us to strain our eyes, we run the other way. Thus, it's in our best interest, and our clients',
to learn how to effectively use typography in graphic design.

The terms "typeface" and "font" are often used interchangeably. In fact, when most people say
"font," what they're really referring to is a typeface. As a graphic designer, it's important to
understand the difference between these terms.

A typeface is a family of fonts. Some familiar examples include Times New Roman, Arial,
and Brush Script. A font is a variation of a typeface, typically bold, italic, or a combination of
the two. Examples of fonts include Times New Roman Italic and Arial Bold.
● Applying effects
● Applying vectors
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● Using black and white alternations
Black and white can be easily overlooked in brand guidelines but it is worth noting these
colors. Generally, black is primarily used as a text and background color while white
provides contrast and clear spacing.

✔ Create web banner

● Design considerations
● Applying Web based types
These banners come in three different forms: static, animated, and interactive.
Static Web Banners
Static banners are the most common type of web banner. They are generally inexpensive and
are used mainly for branding purposes. They usually comprise of a photo, logo or text graphic
that is generally static (does not move) and is linked to a website.

Animated Web Banners

Animated web banners are banners that use animation to attract a user’s attention. These can
be used in a variety of ways, including as a welcome page to greet users, during an event, or
for any purpose really. They can be used in place of static banners to make the website more
dynamic and engaging. These can also be used in advertising to help draw attention to a
product.

Interactive Web Banners

Interactive web banners are advertisements that allow users to engage with the brand they
represent. These ads can include various types of engagement, such as clickable links, video
and audio elements, and more.

● Sketch blueprints

Blueprint Sketch is a streamlined drawing app that allows you to draw lines and text. It has
an infinite canvas with a zoom-able drawing surface. The snap to grid feature makes it a
great app for creating basic blueprints, white board drawings and level design.
● Selecting Formats
The common web banner formats: Medium Rectangle, Leaderboard, Wide Skyscraper, Half
Page, Billboard, Large Rectangle, Banner, Half Banner, Skyscraper, Vertical Banner, Portrait,
Large Leaderboard, Square, Small Square, Small Rectangle and Button.
● Selecting Sizes
The common standard banner sizes where the sizes are measured in pixels are:

Medium Rectangle (300x250), Leaderboard (728x90), Wide Skyscraper (160x600), Half Page
(300x600), Billboard (970x250), Large Rectangle (336x280),Banner (468x60),Half Banner

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(234x60),Skyscraper (120x600),Vertical Banner (120x240),Portrait (300x1050),Large
Leaderboard (970x90),Square (250x250),Small Square (200x200),Small Rectangle (180x150)
and Button (125x125)

✔ Create Flyer
● Selecting Types
Here are the major types of flyers
Handbills
Handbills are the types of flyers containing very little text. Such handbills are usually printed
on ordinary paper.

Mostly, businesses prefer handbills for mass distribution. For instance, they insert handbills
with newspapers and magazines.

Businesses use handbills to promote an upcoming event or sale such as a new movie release,
new event opening, a discount coupon, etc.

Posters

A poster is also a type of flyer printed with graphic designs and has images, infographics, and
other information. Such a poster is generally pasted on a wall and the flyer sizes are usually
larger.

Pamphlets
Pamphlets are the types of flyers, also known as leaflets. These are loose sheets. These paper
sheets are commonly used for mass distribution and are printed on the paper’s normal quality.

The purpose is to distribute the information to as many people as possible. These are
excellent flyers for brand awareness.

Marketing Flyers
Marketing flyers are the ones that are hung on door handles. Everyone notices these flyers on
the door nobs, making them the most cost-effective to promote products or services. Such a
flyer is printed with a hole to slide it onto door handles of restaurants, shopping areas, business
complexes, and even homes.

Digital Flyers
There is no printing involved, and instead, the design material of these flyers is saved in a
digital file. You can email this file, or it can be used on a website. But make sure that the file
can be used and viewed by different computer programs.

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● Selecting Elements
To design a flyer that is effective and presents your business well, there are key elements you
should always include and use correctly.

 1) A clear, concise goal or purpose

What's your purpose in designing a flyer? Try focusing on one aspect you want to promote
whether it's to sell a certain product, invite customers to an event, or use a service.

2) A popping headline

Now that you have established your purpose for the flyer, you will need to create a popping
headline. Why? Because it's what will most likely be the first thing read on your flyer, so make
it interesting.
3) An overall motivating message

This is your call to action line. A call to action is a message that makes the reader want to act;
otherwise, the flyer will be useless to the reader. Call to action words like buy now, call
today, contact us, come in, and enter to win, lets the reader know how to act on what they
read.
4) Graphics or Pictures

Design a flyer with vivid images relative to the concept of the flyer and ones that are eye
catching. Your logo is an important visual to place on the flyer as well.

 5) Your contact information

Do not forget to add this to your flyer. How else will anyone contact you if they don't have a
phone number or address? You may also want to consider adding info like your name,
website, e-mail address, Facebook business page, or Twitter profile.

Your flyer will be effective only if all these elements are clearly thought out and used
together well. It is important that you also consider the pages on graphic design basics and
color basics when you design a flyer or any other print material.
● Applying graphics and typography

Typography is the strategic arrangement of type in order to make written language

readable and visually appealing. The art of typography is one of the most important skills
every graphic and web designer needs to master. It's central to every form of design, both print
and digital.

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Typography has two main purposes in graphic design. The first is to promote legibility, and
the second is to help communicate the messaging, tone, and sentiment of a design piece.
Another function of typography revolves around aesthetics. We're drawn to visually attractive
designs that are clean and easy on the eyes.

Learning outcome 3: Export file

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Learning outcome 3. Export file

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Indicative content 3.1: Selection of file format

Formats of image

Image is the visual representation of someone or something

Formats of images:

JPEG is the most used image file format. JPG is the file extension for
JPEG files (Joint Photographic Experts Group). Digital cameras and web
pages use JPG files - because JPG courageously compresses the data to be
very much smaller in the file and it is Viewable from the internet.

JPEG is a “lossy” format meaning that the image is compressed to make a

smaller file.
Compression: Lossy - some file information is compressed or lost
Best For: Web Images, Non-Professional Printing, E-Mail, Powerpoint
Special Attributes: Can choose amount of compression when saving in
image editing programs like Adobe Photoshop.
TIFF or Tagged Image File Format: are lossless images files meaning
that they do not need to compress or lose any image quality or information
(although there are options for compression), allowing for very high-quality
images but also larger file sizes
TIFF files are capable of storing multiple images

Compression: Lossless no compression. Very high-quality images.

Best For: High quality prints, professional publications, archival copies(
are used for backup)
Special Attributes: Can save transparencies (photos, shots, photographs).

Bitmap (.bmp)
BMP or Bitmap Image File is a format developed by Microsoft for Windows.
There is no compression or information loss with BMP files which allow
images to have very high quality, but also very large file sizes. Due to
BMP being a proprietary format, it is generally recommended to use TIFF
files.
Compression: None
Best For: High quality scans.
GIF (.gif)
GIF or Graphics Interchange Format files are widely used for web graphics,
because they are limited to only 256 colors, can allow for transparency,
and can be animated. GIF files are typically small in size and are very
portable.

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 Compression: Lossless - compression without loss of quality
Best For: Web Images
Special Attributes: Can be Animated, Can Save Transparency
PNG (.png)
PNG or Portable Network Graphics files are a lossless image format
originally designed to improve upon and replace the gif format. PNG files
are able to handle up to 16 million colors, unlike the 256 colors supported
by GIF.
Compression: Lossless - compression without loss of quality
Best For: Web Images
Special Attributes: Save Transparency
EPS (.eps)
An EPS or Encapsulated PostScript file is a common vector file type. EPS
files can be opened in many illustration applications such as Adobe
Illustrator or CorelDRAW(SOFTWARE that is used for creating Logos ,
invitation cards).
Compression: None - uses vector information
Best For: Vector artwork, illustrations
Special Attributes: Saves vector information
RAW Image Files (.raw, .cr2(Canon Raw 2 is digit file format for
any photograph taken on canon cameras and uploaded on a
computer), .nef(Nikon Electronic Format is a raw file format for
containing digital photos taken by Nikon cameras ), .orf(is a raw file
format used by Olympus digital cameras), .sr2(is a raw file format
associated with sony cameras).
RAW images are images that are unprocessed that have been created by a
camera or scanner. Many digital SLR cameras can shoot in RAW, whether
it be a .raw, .cr2, or .nef.
Compression: None
Best For: Photography
Special Attributes: Saves metadata, unprocessed, lots of information

Image file sizes

 File size is determined by the number of pixels so the aim is to find
out how many pixels the image contains.

Image Size is the term given to describe the height and width of an
image in pixels.

 Pixels are the tiny building blocks that make up all digital images.

 Resolution: describes the detail of an image.

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  Bit depth
Bit depth refers to the color information stored in an image.
As the bit depth increases, the file size of the image also increases because
more color information has to be stored for each pixel in the image.

 Color mode
Color mode determines how the components of a color are combined.
Color modes are:

 RGB,
 CMYK
 Grayscale,

1. RGB
RGB or Red, Green and Blue, are additive colors and are what we see
when we look at our computer monitors and televisions screens.
2. CMYK
CMYK or Cyan, Magenta, Yellow and Black, are subtractive colors are the
standard ink colors for printing.
CMYK is a color model that is used for print purposes.

GRAYSCALE
Grayscale mode uses different shades of gray in an image.
Every pixel of a grayscale image has a brightness value ranging from
black to white.

 Content/ topic :Image file compression:

Image compression is the process of encoding or converting or minimizing

the size of an image file in order to consume less space than the original
file.

TYPES OF COMPRESSION
 Lossy file compression
 Lossless file compression

1. Lossless image file compression

Lossless compression means that as the file size is compressed, the

picture quality remains the same.

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 The big benefit to lossless compression is that you can keep the
quality of your image and still achieve a smaller file size.

2. Lossy compression

Lossy compression refers to compression in which some of the data

from the original file is lost.

The more you compress it, the more degradation occurs.

 Content/topic: Major graphic file formats

Graphic is an image or visual representation of an object

 RASTER FORMAT

A raster graphic or bitmap image is composed by pixels.

 VECTOR FORMAT

vector graphics are comprised of paths.

Raster Vector
Comprised of pixels. Comprised of paths.
Large file sizes (but can be Small file sizes
compressed)
File types include .jpg, .gif, .png, .tif, File types include .svg (Scalable
.bmp, Raw formats. Vector Graphics); and .eps.

Perfect for “painting” Perfect for “drawing”

 COMPOUND FORMATS

Compound formats are the formats that contains both pixel and
vector data.

 EPS (Encapsulated PostScript)

 PDF (Portable Document Format)
 PostScript, a page description language with strong graphics capabilities
 PICT (Classic Macintosh QuickDraw file)
 WMF / EMF (Windows Metafile / Enhanced Metafile)
 SWF (Shockwave Flash)
 XAML User interface language using vector graphics for images.

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  Stereo formats

Stereo Sound that is directed through two or more speakers so that it seems
to surround the listener and to come from more than one source;
stereophonic sound.

STEREO Audio file format

There are three major groups of audio file formats:

 MPO the Multi Picture Object (.mpo) format consists of multiple JPEG
images
 PNS The PNG Stereo (.pns) format based on PNG (Portable Network
Graphics).
 JPS The JPEG Stereo (.jps) format based on JPEG.

Indicative content 3.2: Set image quality

Image file compression:
Image compression is the process of encoding or converting or minimizing
the size of an image file in order to consume less space than the original
file.

TYPES OF COMPRESSION
 Lossy file compression
 Lossless file compression

Lossless image file compression

Lossless compression means that as the file size is compressed, the

picture quality remains the same.

The big benefit to lossless compression is that you can keep the
quality of your image and still achieve a smaller file size.

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 Lossy compression
Lossy compression refers to compression in which some of the data
from the original file is lost.

The more you compress it, the more degradation occurs.

Compressing techniques
 RLE (Run Length Encoding) : is a form of lossless data compression in
which runs of data .This is most useful on data that contains many
such runs

 LZW (Lemple-ZifWelch) : LZW compression works by reading a sequence

of symbols, grouping the symbols into strings, and converting the strings
into codes.
LZW (Lemple-Zif-Welch)Lossless compression; supported by TIFF, PDF,
GIF, and PostScript language file formats. Most useful for images with large
areas of single color.

 JPEG : JPEG uses a lossy form of compression based on the discrete

cosine transform (DCT).
 CCITT : CCITT (International Telegraph and Telekeyed Consultive
Committee)Group 4 compression, also referred to as G4 or Modified
Modified READ (MMR), is a lossless method of image compression used
in Group 4 fax machines defined in the ITU-T T. 6 fax standard. It is only

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 used for bitonal (black-and-white images, supported by the PDF and
PostScript language file formats) images.

 Zip (Zipped up): ZIP is an archive file format that supports lossless
data compression. A ZIP file may contain one or more files or directories
that may have been compressed.
Lossless compression; supported by PDF and TIFF file formats.

 Resizing and saving

To resize an image in Photoshop:
1. Open your image in Photoshop.
2. Go to “Image”, located at the top of the window.
3. Select “Image Size”.
4. A new window will open.
5. To maintain the proportions of your image, click the box next to “Constrain
Proportions”.
6. Under “Document Size”:
7. Save your file

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Indicative content 3.3: Export artwork

This indicative content describes knowledge, Attitudes and skills required to

:Photoshop, Illustrator
 File formats for saving:
 compuServe GIF (Graphics Interchange Format): GIFs are most common
in their animated form.
 JPEG (Joint Photographic Experts Group): (or JPG) Joint Photographic
Experts Group
JPEGs used on the web. JPEGs are known for their "lossy" compression,
meaning that the quality of the image decreases as the file size decreases.

 Photoshop (PSD): PSDs are files that are created and saved in Adobe
Photoshop, the most popular graphics editing software ever. This type of
file contains "layers" that make modifying the image much easier to
handle.
 Photoshop PDF (Portable Document Format) : PDFs were invented by
Adobe with the goal of capturing and reviewing rich information from any
application,
 TIFF (Tagged Image File Format) : A TIF is a large raster file that doesn't
lose quality. This file type is known for using "lossless compression,"
meaning the original image data is maintained regardless of how often you
might copy, re-save, or compress the original file.

Compressing techniques
 RLE (Run Length Encoding) : is a form of lossless data compression in
which runs of data .This is most useful on data that contains many
such runs

 LZW (Lemple-ZifWelch) : LZW compression works by reading a sequence

of symbols, grouping the symbols into strings, and converting the strings
into codes.
LZW (Lemple-Zif-Welch)Lossless compression; supported by TIFF, PDF,
GIF, and PostScript language file formats. Most useful for images with large
areas of single color.

 JPEG : JPEG uses a lossy form of compression based on the discrete

cosine transform (DCT).
 CCITT : CCITT (International Telegraph and Telekeyed Consultive
Committee)Group 4 compression, also referred to as G4 or Modified
Modified READ (MMR), is a lossless method of image compression used
in Group 4 fax machines defined in the ITU-T T. 6 fax standard. It is only
used for bitonal (black-and-white images, supported by the PDF and
PostScript language file formats) images.

 Zip (Zipped up): ZIP is an archive file format that supports lossless
data compression. A ZIP file may contain one or more files or directories
150
that may have been compressed.

151
 Lossless compression; supported by PDF and TIFF file formats.

Setting file saving preferences

 Image Previews : The Preview Image Size differs from the
general image size. This preview is, sometimes, saved as an extra or
additional little image inside your bigger image file. In other instances,
the image is just a scaled-down version of the original image.
 File Extension : A file extension, or filename extension, is a suffix at the
end of a computer file. It comes after the period, and is usually two-four
characters long.
 Save As to Original Folder: When choosing File > Save As, Photoshop takes
you to the folder where your last file was saved, which may not be the
same folder as where your current file resides.If you would like Photoshop
to instead take you to the same folder where your current file resides, go to
Edit > Preferences File Handling, and check “Save As to Original Folder”

 Ignore Camera Data (EXIF) Profiles : "Most digital cameras use the
Exchangeable Image File (EXIF) format to store information in image files,
including JPEG files. The EXIF format is limited to two color space tags--
sRGB and Uncalibrated RGB. Most digital cameras.
 Maximize PSD File Compatibility 

Maximize compatibility for PSD and PSB files

If you work with PSD and PSB files in older versions of Photoshop or
applications that don’t support layers, you can add a flattened version of
the image to the saved file.
Note:
If you save an image in an earlier version of Photoshop, features that
version doesn’t support are discarded.
1. Choose Edit > Preferences > File Handling (Windows) or Photoshop > .
2. From the Maximize PSD and PSB File Compatibility menu, choose any of
the following:
Always
Saves a composite (flattened) image along with the layers of your
document.
Ask
Asks whether to maximize compatibility when you save.
Never
Saves only a layered image.
Note:
Choose Ask or Never if you want to significantly reduce file size.

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https://www.researchgate.net/publication/262934023_The_Elements
_of_Graphic_Design_Second_Edition
https://acementortools.org/wpcontent/uploads/2020/08/ACE_The-
Elements-and-Principles-ofDesign.pdf Sherin, A.

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https://www.linkedin.com/learning/illustrator-2020-one-on-
onefundamentals?trk=lynda_redirect_learning

https://www.linkedin.com/learning/illustrator-2020-one-on-
onefundamentals?trk=lynda_redirect_learning

https://www.outbrain.com/help/advertisers/banner-ads/ (2022, 6 24).

https://www.pt-templates.com/what-types-ofweb-banners-are-there

https://www.small-business-graphicdesign.com/design-a-flyer.

https://www.designhill.com/design-blog-getstarted-with-flyers-the-
complete-guide-to-flyer.sizes-types-anddimensions/?amp=1

https://www.kinsta.com/blog/optimizeimages-for-web/

https://www.domestika.org/en/blog/4335- illustrator-tutorial-how-to-
export-your-artwork-step-by-step.

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