DIGITAL IllustrationsDigital Illustrations © 2017 Aptech Limited Alllrights reserved. No part of this book may be reproduced or copied in any form or by any means ~ graphic, electronic ‘of mechanical, including photocopying, recording, taping, or storing in information retrieval system or sent or transferred without the prior written permission of copyright owner Aptech Limited Alltrademarks acknowledged APTECH LIMITED Contact E-mail: ov-support@onlinevarsity.com Edition 1 - April 2017 Disclaimer: Arena Multimedia is registered Brand of Aptech Ltd,Preface This book will teach you how to create projects in Adobe Illustrator CC for an advertising agency. It also teaches you how to use the strength of vector art to its full capacity The ARENA Design team has designed this course keeping in mind that motivation coupled with relevant training and methodology can bring out the best. The team will be glad to receive your feedback, suggestions, and recommendations for improvement of the book. Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai. ARENA Design Team Onlinevar sity ‘your ©-way to learning Maile) DiaWed sy (eL4 TN sara LanTadTable of Contents Session 1: Becoming a Graphic Artist, Organizational Structure in an Ad Agency Use of Vectors in Creative Services ‘Mustrator window Working with Documents ‘Creating New Documents Using Artwork Space Creating a Logo ‘Swatches Panel Correcting Mistakes Saving Documents ‘summary Exercise Session 2: Creating Stationery key Points of a Visiting Card Ditlerent Types of Visiting Cards Creating a Visiting Card Creating a Letterhead Creating an Envelope Summary Exercise Session 3: Creating a Bottle in 3D and Applying Labels ‘Determining the Right Type of Labels Creating a Bottle Outline Creating a Label Creating a 3D Bottle ‘Summary ExerciseSession 4; Creating a Brochure Determining Dimensions and Folds Creating a Brochure Summary Exercise Session 5: Creating a Hoarding What Mix Sells a Hoarding? Clipping mask Greating the Hoarding Surmmary Exercise SO ni ah EVeNZaNT) elas Onlinevar: your €-way to learning Br Nasa LAC mkBalanced Learner-Oriented Guide MAH CLE Ce @ www.onlinevarsity.comSession 1 Becoming a Graphic Artist Learning Outcomes ‘this session, you wil learn to: > Deseribe the Organizational Structure in an Ad Agency > Differentiate between Vector and Raster images. > Utlize llustrator workspace > Navigate around an Hlustrator fle and save it > Create a logo for a company Advertising agencies rely heavily on an excellent graphic designer. Designing in llustrator is an advantage because it is a vector-based software that is offen used for printing ads, visiting cards, brochures, and even large hoardings. Let us study the basics of navigating around Illustrator and launch into the creation of @ logo for a fictional company called ‘Ovie Energy Drink.” System Requirements PU ee) Intel® Pentium® 4 or AMD Atnlon® 64 processor ‘Microsoft® Windows® XP with Service Pack 3 or Windows 7 with Service Pack 1 1/GB of RAM (3 GB recommended) for 32 bil; 2GB of RAM (8 GB recommended) for 64 bit 2 GB of available hard-disk space for installation; addiional free space required during installation "1024x768 display (1280x800 recommended) with 16-bit video card1.1 Organizational Structure in an Ad Agency In most agencies, the essential departments are Account Services, Creative, Media Planning, and Production. v Account Services This is the ‘go-to’ department, the people who liaison between the clients, the creative, and the other departments, They meet the clients, find out their requirements, and create a brief. (Once the Creative staff comes up with an ad or campaign, the Account Services make sure the idea is sold to the client, Briof: The Account Servicing people create the brief with information received from the client, and market research. It boils the input down fo a Single Minded Proposition (SMP) that gives fa solid direction to the creative department. Creative Services This is the heartbeat of the advertising agency. The Creative Director is in charge of it and ‘ensures that the art directors and copywriters work together to deliver on the brief, The Art Director and Copywriters (the ones who help conceptualize the campaign and write the text) report to this person. The Graphic Artist is part of Creative Services. He/she will create stand- alone designs, print material, Web design, or even product design. The creative team will depend on hisfher talents to give the designs the finish that he/she alone can see. Media Planning Headed by the Media Director, this department purchases the advertising time and space required for the ads or campaigns, from TV or radio time. to print media, to Web, or any promotional spots. Production Production executes the ideas of the creative department, whether its photography, printing, or even hiring TV directors. 1.2 Use of Vectors in Creative Services IMustrator uses vector graphics that are widely used across the creative fields, in the advertising, Publishing. design industry, and various media fields. Why are vector graphics so popular in print design? The main reason is perfection. When a file is sent to a commercial printer, it can be printed with absolute clarity, whether itis a tiny one inch square on an invitation card or a large thirty-foot hoarding, splashed across a building ‘The job of creating these fabulous projects in lllustrator starts now. However, fist we must learn the difference between vector and raster images1.2.1 Vector and Raster Images ‘The differences between vector and raster graphics are as shown in Table 1.1 fees Files constructed Reece aad From shapes that are defined by Mathematical equations. ewe aac From Pixels (the tiny squares seen on the screen when zooming in) What graphics are Included? ‘Vector shapes; Objects Images; Bitmaps File Format examples eps, .ai, cdr, .svg, pat Aif, .tif, jpg, jpeg, .psd, aif, ong Visual Comparisons (Refer to Figures 1.1 and 1.2) Figure 1.1: Vector graphic Figure 1.2: Raster graphic What happens when ‘zooming into this image? ‘The quality remains sharp. It does not lose the crisp edges of thelines. These images are resolution independent, ‘The Image loses its detail and quality, Lines. lose their smoothness. Dots of the screen are visible. Images appear blurred and pixelated. ‘These images are resolution dependent. Why should | use this type of image? To get the sharpest print quality, ‘especially in complex artwork. Ilustrator and CorelDraw are vector-based software. To get the best photographic- quality images. Photoshop offers several techniques, not found in llustrator, to create and modify raster images. Commonly used Magazines, bus banners, public hoardings Photography (the digital camera creates bitmaps) and the Web. Table 1.1: Difference between vector and raster graphics41. Iman advertising agency, the Graphic Artist isa part ofthe depariment. a. Media b. Creative Services © Account Planning d. Production 2. Vector graphics are best used in ‘magazines, and raster graphics are best used on. sites. ‘online, construction digital, tourist print, Internet tablet, lego 1.3 Illustrator Window On starting Illustrator, an array of windows, panels, and menus are seen, all of which help create the artwork. Refer to Figure 1.3. Customize the workspace by floating or docking panels, linking or separating them, adjusting user interface brightness, or docking hidden tools. Figure 1.3: llustrator windowFunetions in the Illustrator window are listed in Table 1.2, acon Panels Application bar Panel menus Tools panel Astboards. Document window Outline or Preview mode Navigator pane! Zoom and Hand tools ‘Screen Display modes Control panel Workspace switcher Table 1.2: Functions in illustrator Window 1.3.1 Touch Workspace Get a richer experience of working with Illustrator on the go, by using @ workspace optimized for any Windows 8 tablet. Drawing and editing in a touch environment with a pen or finger is now made easy with essential tools including French curves that you can scale, move, and trace. Designed for Windows 8 tablets, the Touch workspace surfaces the essential tools and controls for drawing and editing with a pressure sensitive pen and multi-touch gestures. > Access the Touch workspace by clicking the Window menu. vy y Tap on ‘Workspace’ Select the Touch’ option. bar at the top. Refer to Figure 1.4. Another way to access iis by simply tapping on the Touch workspace icon in the menu Manage Worse Figure 1.4: Touch Workspace1.3.2 Syne Settings ‘Sync Settings, as the word suggests, help you synchronize seltings including preferences, libraries, presets and workspaces to Creative Cloud. You can now have the same working settings and environments on multiple computers, regardless ifit's a PC > Goto preferences and click the ‘Sync Settings’ tab. > Here you can sign in to your account and define what settings you want synced by ticking the checkboxes under Sync Settings Options. Refer to Figure 1.5. Now your settings are automatically synced and when you open Illustrator on another Windows PC, you can continue where you left oft v Figure 1.5: Syne Settings 1.3.3 Typekit integration Browse a variety of fonts from the vast library in Typekit. Simply browse through the Type or Font Family menus by fitering directly insmenu or launching the Typekit Website. You can then sync them 10 your computer or use them in your projacts on the fy. > Select the text you would like to eal ¥ Under the font menu, you will notice two new icons: ‘Show Typekit Fonts’ and ‘Add Fonts from Typekit. Selecting ‘Add Fonts from Typekit’ takes you to the Typekit Website, where you can select, Font of your choice. Refer to Figure 1.6. ‘Once you have selected a font, click ‘Sync selected fonts’ and the font style will be automatically synced with your computer. yThe quick brown fox jumps ov Figure 1.6: Typekit Website 1.3.4 Custom Tools Panels Create custom tool panels by dragging and dropping just the tools you need - such as drawing, editing, or selection tools - into a specialised panel. You can then hide the full Tools panel to create @ clean and efficient workspace > Click the Windows tab and go to Tools. > Select ‘New Custom Tools Panel’. Refer to Figure 1.7. > Type in an appropriate name for your toolbar and click OK. > Anew custom tool panel will appear. > Now all you need to do is simply drag and drop any tool you wish to add from the toolbar to the custom toolbar. Figure 1.7: Selection of New Custom Tools Pane!1.3.5 Creative Cloud Libraries Creative cloud syncs libraries so you always have the files you need, right when you need them. Now, you have the ability to browse and access your favourite creative assets such as colours, type styles, brushes, graphics, and more; all in new libraries that are available across Illustrator, Photoshop, and mobile apps like Sketch and Draw. Libraries sync to Creative Cloud so that you always have the files you need, right when you need them. Following are the steps to use Creative Cloud Libraries: > Touse Creative Cloud Libraries, click the Window menu and select libraries. > Using the drop-down list, select ‘Create New Library’ and type in a name for the library and click create, » Keeping your artwork selected, click the “Add Graphic’ button to add the selection to the graphic panel that is synchronized to the cloud. Refer to Figure 1.8 v Similarly, you can add a color selection to your library by clicking the ‘Add Fill Color’ option. > You can also add text styles by clicking the ‘Add Text Style’ button. > Finally, you can use your selected items in a document by simply right-clicking and selecting ‘Use in document or you could simply drag it from the Libraries window to your work area, 3: Custom Tool Panel Figure 1. 1.3.6 Panels Illustrator has 34 standard panels and unlimited library panels (for swatches, symbols, brushes, styles, and more) that can remain open to help modify the document. Technically, a panel is modeless window. The main difference between @ modeless window and a dialog box is that the modeless window need not be closed to perform other tasks, Each panel has a labelled tab. A panel can be floated (placed anywhere), tabbed (grouped with other Panels), or docked (aligned automatically to the left). To move it, click and drag its title bar. The pane! can also be minimized or closedOccasionally, a panel has a handle on the lower-right comer that looks like a triangle made up of dots. Drag this handle to change the panel's size. Refer to Figure 1.9. Figure 1.9: Handle at the lower right corner, resizes the panel (On some panels, a double-arrow icon appears next to its name. Clicking this icon toggles the panel size, Refer to Figure 1.10 Figure 1.10: Double-arrow icon toggles panel sizes 1.3.7 Tabbing and Docking The Tabbing function stacks several panels together. A tab can be dragged from one panel to group it with another. in Figure 1.11, the Color, Transparency, and Gradient panels have been tabbed together. The panel stays grouped together, even if one quits Illustrator and restarts. Click the tab of a panel to use it To separate a panel, drag the tab out of it.So eats Figure 1.11: Panels stacked together Docking aligns the panels in a single row, along the right side of the screen. To dock a floating panel, drag its tab to the right side of the screen. To work on a floating panel, drag a docked panel into the document window. Refer to Figure 1.12 Figure 1.12: Docked panels 1.3.8 Adjustable User Interface Brightness Illustrator Preferences, as shown in Figure 1.13, allow to change the color and brightness of the canvas, to help focus on the artwork. For example, if creating an artwork full of bright and light colors, ‘one might want to decrease the brightness of the screen and change the canvas to darker color.Figure 1.13: Adjustable brightness user intertace 1.3.9 Dockable Hidden Tools (Tools Menu) Inthe Tools menu, clicking the tiny triangle of some icons, reveals a hidden tools sub-menu. Refer to Figure 1.14, Click the vertical bar that appears, to tear off the hidden tools and dock it. Click the double arrows, to arrange the sub-menu, vertically or horizontally When moving a sub-menu or panel, designated drop zones marked by a blue highlight can be seen. ‘The panels can be docked in these zones or floated freely in the workspace. Figure 1.14: Dockable hidden tools 1.3.10 Application Bar The Application bar, on the top of the screen, has several drop-down menus. For example, in Figure 1.15, the View menu has been selected. To magnify, select the Zoom-In command. Now, notice the small triangle beside Pixel Setup. Clicking this drops down a submenu.Figure 1.15: View menu 1.3.11 Working with Panels and Menus > Panels: To reveal or hide a panel, click Window menu. There is a range of panels from Action to Variables. Select or deselect the checkbox next to the Panel's name. One can access several panels using keyboard shortcuts. > Panel menus: These menus appear on the main document as well as on the panels. The various commands available within the menu, can be accessed through the triangle located tn the top-right comer of the panel. Refer to Figure 1.16 to view the commands available in the Brushes panel menu.New rth Duplat rh ‘See A Uowied ‘Show Clini rushes ‘Show aetBrnes Show Bite Bauer Show Pate Srchee ‘TramonaVew ListView pen But ay ‘Sve Brat it Figure 1.16: Brushes panel menu 1.3.12 Tools Panel Overview ‘These are the tools to create @ signature artwork. Refer to Figure 1.17. ‘Some important points regarding tool panel overview to note are: > The default position of the Tools panel is on the left side of the screen. Drag the title bar to move it, > To show or hide the panel, choose Window —+ Tools. (Or just press the Tab key.) > Double-click a tool to view its options. Applies to same tools only. > Click the small triangle on a tool to view the hidden tools. Click the arrow on the right, to change the menu to a floating panel. > Position the mouse pointer over a tool, o see its name. At the bottom of the Tools panel, we can Draw Normal or Draw Behind or Draw Inside the objects we select.setectiontoots 1 Selection 0 1 rect selection it) Re Grupselecton =F wagtewane © Paste) Soran ts women ‘Poker Eas * Seat of tee a ooo ior 0 congo Beate Sher 3 ee a Bm samen 3 — + powcr ieee @Printing tools Paints) 92 oleb a(t) #2 exetepper © 5 te Patt outa 0 tyggasseten @ reshaping tots =D Rotate (| agaae Se since ahaa suru vp Gt Gwin cer Sees [Bsectoe Sreproies reurnce IE Fee Hamvorm (6 1G Shape water se saad un @symboltoote 3 syto stes Se re Srna @iimeeiszer 1 Symbelspewer 2e Smtstoner ee Symecisenee B smesisver @craph tools ‘*hi)cotumn crop 0) Edsaacama co Bere B Seton lee inecap fens EE Soren Grech Bhaaarcanh Zeno P rote © woung ardzoomin| mand on = room 2 Figure 1.17: Tools panel Click here to know more about drawing, selecting, and modifying shapes. 1.3.13 Using the Control Panel ‘The Control panel, across the top of the screen, displays options for the currently selected tool. This panel is customized based on the tool that has been selected. For most of the tools, the Control panel includes the following options: Object type selection Stroke width Brush panel Graphic style panel Opacity Document setup Preferences