Adobe Illustrator CS3 User Guide by Adobe Systems, Incorporated – PDF Drive.
Designed around a single complex project that’s broken down into manageable lessons, this book-and-DVD package mimics a real-world workflow–but one that readers tackle at their own pace. The DVD contains all the lesson files and footage readers need to complete the lessons.
Educational instructor notes-created to help teachers plan, organize, and time their lessons-are available for this book and for other Classroom in a Book titles at www.
For the first time in five years, Adobe Premiere Pro, Adobe’s flagship digital video editing application, is once again available for both Macintosh and Windows users. This project-based book covers not just the basics of working with audio, creating transitions, and producing titles, but also all that’s new in Premiere Pro: the ability to build Blu-ray Disc, DVD, and Flash projects with Adobe Encore CS3 now included with Premiere Pro CS3 ; Adobe OnLocation CS3, which lets on-the-road users record footage directly to their computer disk–removing the need to capture video to tape later.
Readers will enjoy learning to create slow-motion effects with Time Remapping, and will get up to speed on Premiere’s new editing tools. What’s more, users can compress their finished video for delivery to the latest handheld devices, such as mobile phones, iPods, PSPs, smartphones, and more.
Best of all, the book’s accompanying DVD includes real footage that you can practice on. The book covers the basics of learning Adobe Premiere Pro and provides countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you. Learn to use the new Speech Search technology for speech transcription projects and how to work with the latest tapeless media in Premiere Pro.
Best of all, includes footage and audio clips that you can practice with. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
All of Peachpit’s eBooks contain the same content as the print edition. You will find a link in the last few pages of your eBook that directs you to the media files. Entering the URL supplied into a computer with web access will allow you to get to the files. To make sure this is not the case, try reducing your font size and turning your device to a landscape view. This should cause the full URL to appear. The book covers the basics of learning Adobe Dreamweaver and provides countless tips and techniques to help you become more productive with the program.
Learn how to create and manage web sites, build rich interactive interfaces, incorporate graphics, text, and video, and use Photoshop Smart Objects. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems incorporated, developed with the support of Adobe product experts. All Rights Reserved.
Adobe Illustrator CS3 Classroom in a Book | Adobe Press
K, a small open circle appears next to the pen, in dicat in g that the path will close when. You can also edit a curve by mov in g the l in e. Click in g with the Selection tool. Us in g the arrow keys, press the right arrow to nudge. Notice that with both po in ts selected that the handles disappear. In the Control panel, click on Show handles for multiple selected anchor po in ts to.
Use Direct Selection tool Select anchor po in t. Adjust anchor po in t. If not, click the Fill color in the Control panel. Then you will position parts of the arrow to create the illusion of the. Press Backspace W in dows or. Enter 45 in the Angle text field, and click OK. Leave the sett in gs as they.
Objects are arranged in the order in which they are created, with. Now pa in t the objects as you like. In the color illustration, you have removed the. We pa in ted the arrow with a dark blue color, and then we added some detail l in es.
For additional practice with the Pen tool, try trac in g over images with it. As you practice. Experiment by plac in g your own images and recreat in g them us in g a template.
The first click sets the start in g. To constra in. Mac OS and drag the direction handle on the endpo in t of the curve to change the. Anchor Po in t tool to drag a direction handle to change the direction. Also, choose a. You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible. Self publishing. Share Embed Flag. TAGS anchor safari adobe classroom illustrator peterson curved requires contents publication halpeterson.
Do you know the secret to free website traffic? Insider knowledge. Draw in g with the Pen tool Table of Contents Chapter 5. Any other use requires prior written consent from the copyright owner. While the Pencil tool is easier for draw in g and edit in g free form l in es, the Pen tool is easier for draw in g more precisely. Use Template layers. Licensed by End path segments and split l in es. Draw curved l in es.
Select and adjust curve segments. Hal Peterson Gett in g started Chapter 5. The top portion of the artboard shows the path that you will create.
Use the bottom half of the artboard for this exercise. In the Save As dialog box, name the file path1. In the Illustrator Options w in dow, leave the default sett in gs and click OK. Caps Lock On turns tool icons in to crosshairs, which in dicates that the precise cursor is active. Direction handles are used to reshape curved paths, and do not pr in t. Click back under the in itial anchor po in t to create a zigzag pattern. The zigzag is complete when it has a total of six anchor po in ts.
Click and release from po in t to po in t to create the zigzag. One of the many benefits of us in g the Pen tool is that you can create custom paths and cont in ue to edit the anchor po in ts that make up the path. Next, see how the Selection tools relate to the Pen tool. Note how all the anchor po in ts become solid, signify in g that all anchor po in ts are selected. Click and drag the path to a new location anywhere on the artboard, and notice that all the anchor po in ts travel together, ma in ta in in g the zigzag path.
Draw in g with the Pen tool Page 4 Return to Table of Contents 8 Deselect the zigzag path with any of these four ways: Select the Selection tool and click on an empty section of the artboard.
When the Control or Command key is released, you return to the Pen tool. Click the Pen tool once. Even though it looks like the path is still active, it will not connect to the next anchor po in t you create.
Click in g and dragg in g a marquee selection around an anchor po in t with the Direct Selection tool can make select in g in dividual anchor po in ts easier. The selected anchor po in t turns solid, the unselected anchor po in ts are hollow. Only the active po in t appears solid. The anchor po in t is mov in g but the others are stationary. Select a segment of a path. This signifies that you are connect in g to another path. Reconnect the paths. In this part of the lesson, you will learn how to draw straight l in es.
Use the lower half of the page for this exercise. Note that if you are not in the exact straight l in e position, you are snapped to that po in t. Hold down the Shift key while click in g to constra in the path. In vector-draw in g programs such as Adobe Illustrator CS3 , you draw a curve, called a Bezier curve, with control po in ts.
By sett in g anchor po in ts and dragg in g direction handles controls , you can def in e the shape of the curve. Although draw in g curves this way can take some gett in g used to, it gives you the greatest control and flexibility in creat in g paths. While hold in g the mouse down click in another location on the page, and drag to create a curved path.
Click and drag to create a curved path. The goal for this exercise is not to create anyth in g specific, but to get you accustomed to the feel of the Bezier curve. Notice that as you click and drag, direction handles that end in round direction po in ts appear. The angle and length of the direction handles determ in e the shape and size of the curved segments.
Direction l in es do not pr in t and are not visible when the anchor is in active. Note: Anchor po in ts are square, and when selected, appear filled; unselected, they appear unfilled, like hollow squares. These l in es and po in ts do not pr in t with the artwork. Select anchor po in ts to access the direction handles.
When you drag the direction anchor po in t of either direction l in e on a smooth anchor po in t, both direction handles move simultaneously, ma in ta in in g a cont in uous curve at that anchor po in t. Curved L in e A. Anchor po in t. Direction l in e. Direction po in t or handle. Build in g a curve In comparison, a corner po in t can have two, one, or no direction handles, depend in g on whether it jo in s two, one, or no curved segments, respectively.
Corner po in t direction handles ma in ta in the corner by us in g different angles. In this part of the lesson, you will learn how to control the direction handles in order to control curves. On this page you can see the paths that you will create.
A template layer has been created in this file so that you can practice us in g the Pen tool by trac in g. The work area below the path is for additional practice on your own. In the Save As dialog box, name the file path3. Zoom in to a specified area by dragg in g a marquee when on the Zoom tool. It helps to remember to always follow the direction of the curve. Release the mouse when the direction l in e is slightly above the arch. When a curve goes up, the direction l in e should also go up.
Press in g the spacebar will temporarily give you the Hand tool and allow you to reposition the artwork. Release the mouse when the top direction l in e is slightly above the arch. To control the path, pay attention to where the direction handles fall. Then adjust the direction handles until your path follows the template more accurately.
Note: Pull in g the direction handle longer makes a higher slope, while pull in g it shorter makes the slope flatter. If necessary, zoom out to see the next path on this page. If you click with the Pen tool while the orig in al path is still active, the path will connect to the next po in t. Click and drag down on the next square po in t, adjust in g the arch with the direction handle before you release the mouse.
Click and drag up to create the upward arch. Alternate between dragg in g up and down with the Pen tool. When the anchor is selected, the direction handles reappear, and you can readjust the slope of the path.
In the next portion of the lesson, you will practice convert in g curve po in ts to corners. On this page you can see the path that you will create. Use the top section as a template for the exercise. Create your paths directly on top of those that you see on the page. The work area below is for additional practice on your own.
In the Illustrator Options dialog box, leave the default sett in gs and choose OK. Hold in g the Shift key when dragg in g constra in s the angle of the handle to a straight l in e. If that appears, click OK and try aga in.
This alert will appear if you do not click on the anchor po in t. When the caret is visible, click and drag.
You can practice adjust in g the direction handles with the Direct Selection tool when the path is completed. Remember, you do not see the caret, you will create an additional loop. Use the Direct Selection tool to f in e-tune the path, and then deselect the path. Use the Zoom tool to drag a marquee around the second path and enlarge its view. This motion of creat in g an arch should be familiar to you by now. Simply press in g the Shift key and click in g will not produce a straight l in e, s in ce this last po in t is a curved anchor po in t.
The path when a curved po in t is not turned in to a corner po in t. Click on the last anchor po in t created to force a straight path from it.
This creates a directional handle. Use the Direct Selection tool to adjust your path if necessary. This procedure will in corporate what you have learned in the previous exercises, and will also teach you some additional Pen tool techniques. Use the Hand tool to move the artwork to where you want it in the w in dow.
Working with type 8. Working with Layers 9. Blending Shapes and Colors Working with Brushes Applying Effects Applying Appearance Attributes and Graphic Styles Working with Symbols Printing Artwork and Producing Color Separations.
I would like to receive exclusive offers and hear about products from Adobe Press and its family of brands. I can unsubscribe at any time. Pearson Education, Inc. This privacy notice provides an overview of our commitment to privacy and describes how we collect, protect, use and share personal information collected through this site.
Please note that other Pearson websites and online products and services have their own separate privacy policies. To conduct business and deliver products and services, Pearson collects and uses personal information in several ways in connection with this site, including:. For inquiries and questions, we collect the inquiry or question, together with name, contact details email address, phone number and mailing address and any other additional information voluntarily submitted to us through a Contact Us form or an email.
We use this information to address the inquiry and respond to the question. We use this information to complete transactions, fulfill orders, communicate with individuals placing orders or visiting the online store, and for related purposes.
Pearson may offer opportunities to provide feedback or participate in surveys, including surveys evaluating Pearson products, services or sites. Participation is voluntary. Pearson collects information requested in the survey questions and uses the information to evaluate, support, maintain and improve products, services or sites; develop new products and services; conduct educational research; and for other purposes specified in the survey.
Occasionally, we may sponsor a contest or drawing. Participation is optional. Pearson collects name, contact information and other information specified on the entry form for the contest or drawing to conduct the contest or drawing. Pearson may collect additional personal information from the winners of a contest or drawing in order to award the prize and for tax reporting purposes, as required by law.
If you have elected to receive email newsletters or promotional mailings and special offers but want to unsubscribe, simply email ask peachpit. On rare occasions it is necessary to send out a strictly service related announcement. For instance, if our service is temporarily suspended for maintenance we might send users an email. Generally, users may not opt-out of these communications, though they can deactivate their account information. However, these communications are not promotional in nature.
We communicate with users on a regular basis to provide requested services and in regard to issues relating to their account we reply via email or phone in accordance with the users’ wishes when a user submits their information through our Contact Us form. Pearson automatically collects log data to help ensure the delivery, availability and security of this site. We use this information for support purposes and to monitor the health of the site, identify problems, improve service, detect unauthorized access and fraudulent activity, prevent and respond to security incidents and appropriately scale computing resources.
Pearson may use third party web trend analytical services, including Google Analytics, to collect visitor information, such as IP addresses, browser types, referring pages, pages visited and time spent on a particular site.
While these analytical services collect and report information on an anonymous basis, they may use cookies to gather web trend information. The information gathered may enable Pearson but not the third party web trend services to link information with application and system log data.
Drawing with the Pen tool Getting started Creating straight lines Creating curved paths Building a curve Curves and corner anchor points Creating the pear illustration Creating the arrow Splitting a path Adding arrowheads Drawing curves Selecting a curve Drawing the leaf Drawing different kinds of curves Convert between smooth points and corner points Drawing the pear shape Editing curves Finishing the pear illustration Assembling the parts Painting the artwork Exploring on your own Review Review questions Review answers 6.
Working with type Getting started Importing a text file Creating columns of text Understanding text flow Working with overflow text and text reflow Threading text Resizing the text area Changing text attributes Changing font size Changing font color Changing additional text attributes Changing paragraph attributes Saving and using styles Creating and using a Paragraph style Creating and using Character styles Sampling text Wrapping text around a graphic Reshaping text with a warp Creating text on paths and shapes Creating text outlines Exploring on your own Review Review questions Review answers 8.
Working with Layers Getting started Creating layers Moving objects and layers Locking layers Viewing layers Pasting layers Creating clipping masks Merging layers Applying appearance attributes to layers Exploring on your own Review Review questions Review answers 9. Blending Shapes and Colors Getting started Creating a gradient fill Adjusting the direction of the gradient blend Adding colors to a gradient Creating smooth-color blends Blending intermediate steps Modifying the blend Combining blends with gradients Exploring on your own Review Review questions Review answers Applying Effects Getting started Using live effects Creating a banner logo with the Warp effect Creating the logotype Stylizing the banner and logotype Editing an effect Creating the 3D cylinder Using the 3D Extrude effect Applying the Symbol as mapped artwork Creating a revolved object Changing the lighting Mapping a Photoshop image Adjusting the lighting Exploring on your own Creating your own revolved artwork Review Review questions Review answers Setting up color management in Adobe applications Synchronizing color using Adobe Bridge Application color settings Printing black-and-white proofs Soft-proofing colors Using the Document Info command Creating color separations Selecting a printer description file Specifying the bleed area Separating colors Specifying the screen frequency Working with two-color illustrations Editing a spot color Separating spot colors Creating a trap Overprinting objects Saving and printing files with transparency effects Specifying resolution of filters and live effects Using Document Raster Effects Settings Using the Flattener Preview panel Assigning the Flattening preset Saving a file with transparency Saving in the EPS format Printing transparent artwork Exporting and importing flattening settings Saving as Adobe PDF Review Review questions Review answers Production Notes Images Typefaces used Team credits Show and hide more.
Difficult issues need to … book Fundamentals of Software Architecture by Mark Richards, Neal Ford Salary surveys worldwide regularly place software architect in the top 10 best jobs, yet no real ….
Get it now.
