Visual Communications Home

VCOM 54 :: Illustrator 1 for Design

VCOM 54 Fall 2013 Archive

Lab time for THE SEMESTER PROJECT
Printing Instructions for the Semester Project

Week 15: December 6, 2012:

Drawing the World:

Click here for fillable PDF Print Form

________________________________

Lab time for THE SEMESTER PROJECT
Printing Instructions for the Semester Project

Week 11: November 15, 2012:

Click here for fillable PDF Print Form

_________________________________

Introduction to PATHFINDER PANEL and FLATTENING in Illustrator
ANNOUNCING THE SEMESTER PROJECT
Week 11: November 6, 2012

Possible SEMESTER PROJECT topics:

1. PRODUCT BROCHURE for a new electronic device, a fitness product, cleaning product, breakfast cereal
a. “Design and Illustrate” (in AICS6) the product PACKAGE, the Brochure with headline type treatment and text type styles.
b. Set Brochure up for printing

2. SERIES OF 3 (minimum) REDUCTIVE ILLUSTRATIONS preferably from life (simpler subjects) or approved photographs (complex subjects)
a. Should be related subjects (fruit, children, African animals, etc.).
b. Design as proper composition on one or more 16″ X 20″ (20″ X 16″) pages.

3. SERIES OF 3 (minimum) PHOTOREAL PRODUCT ILLUSTRATIONS preferably from life (simpler subjects) or approved photographs (complex subjects)
a. Should be related subjects (kitchen appliances, electronics, heavy equipment, etc.).
b. Design as series of compositions on multiple 10″ X 8″ pages.

4. PORTRAIT OR SELF-PORTRAIT preferably from life (artistically expressive) or approved photographs (photorealist) not taken with a laptop front on camera.
a. Should be related subjects (fruit, children, African animals, etc.).
b. Design as proper composition on one or more 16″ X 20″ (20″ X 16″) pages.

Creating Type on a Path and Outlining Text in Illustrator
demo files: CLICK HERE

_____________________________________________

MORE TYPE! Introduction to TYPE and TEXT in Illustrator II

Week 10: October 30, 2012

Creating Type on a Path and Outlining Text in Illustrator

demo files: CLICK HERE

_____________________________________________

MORE TYPE! Introduction to TYPE and TEXT in Illustrator II

Week 10: October 25 2012

Product Pages – Price List –  in Illustrator #2; assigned 10/17/20112;  due 11/01/2012

Click here for the Wine List files

Click Here for the Wine List Example PDF

Click here soon for the Wine List Videos: Video 1: linked text boxes  |  

Video 2: tabs, leaders, character styles  |  video 2: “placing” images on a grid

Click here for last week’s Product Page Videos: Product Page Video 1  |  Product Page Video 2  |  Product Page Video 3  |  Product Page Video 4  |  Product Page Video 5  |

________________________________

MORE TYPE! Introduction to TYPE and TEXT in Illustrator II

Week 10: October 22 2012

Product Pages in Illustrator #2; assigned 10/17/20112;  due 10/30/2012

Click here for the Wine List files

Click Here for the Wine List Example PDF

Click here soon for the Wine List Video: Coming Soon

Click here for last week’s Product Page Videos: Product Page Video 1  |  Product Page Video 2  |  Product Page Video 3  |  Product Page Video 4  |  Product Page Video 5  |

________________________________

MORE TYPE! Introduction to TYPE and TEXT in Illustrator

Week 9: October 17 2012

Product Pages in Illustrator #2; assigned 10/17/20112;  due 10/30/2012

Click here for the Laptop File

Click here for Laptop Video:

Click here for last week’s Product Page Videos: Product Page Video 1  |  Product Page Video 2  |  Product Page Video 3  |  Product Page Video 4  |  Product Page Video 5  |

_____________________________________________

COMING TODAY! Introduction to TYPE and TEXT in Illustrator

Week 9: October 17 2012

Product Pages in Illustrator; assigned 10/17/20112;  due 10/25/2012

Click here for the background files for this project

Click here for Product Page Videos: Product Page Video 1  |  Product Page Video 2  |  Product Page Video 3  |  Product Page Video 4  |  Product Page Video 5  |

I am leaving the type resources up on this page. This project will be demoed in class Tuesday and Thursday. video on type #1 |  video on type #2 |  video on type #3 | A Brief history of type  |  Using type in Illustrator  | Anatomy of Type  |  Type references on the web  |

_______________________________________________________________

Week 9: October 11 2012

REDUCTIVE DRAWING; assigned 10/02/20112; due 10/16/2012

Drawing (and tracing) with the PEN TOOL

Illustrator book

video on type #1 |  video on type #2 |  video on type #3

A Brief history of type  |  Using type in Illustrator  | Anatomy of Type  |  Type references on the web  |

______________________________________________

Week 7 & 8: October 2, 4, 9 2012

assigned 10/02/20112; due 10/09/2012

REDUCTIVE DRAWING

Drawing (and tracing) with the PEN TOOL

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf. Study and/or eview Chapter 4 which covers the PEN TOOL. Go to the Videos page to see the videos that are covered in this evening’s class: |  video54-154-14  |  video54-154-15|  |  video54-154-16  |  video54-154-17  |  video54-154-18  | Videos 17 and 18 are for those of you who are still really struggling with the PEN TOOL. Download the following file, “flipflop.jpg”, if you wish to work along with the videos. flipflop.jpg. You really should try to draw “from life” before you give up and go back to tracing. |  video54-154-14  |  video54-154-15  |  video54-154-16  |  video54-154-17  |  video54-154-18  |          BEGGINERS and INTERMEDIATE STUDENTS SHOULD CREATE THEIR DRAWING BY TRACING. ADVANCED STUDENTS SHOULD  ATTEMPT A REDUCTIVE DRAWING FROM LIFE! All  advanced students should attempt “drawing from life” using an item you bring in. Videos 14 through 16 take you through the process of working from an actual item rather than tracing a photo. Do as much as you can. Use only CLOSED SHAPES and only BLACK or WHITE. REMEMBER, the item you are drawing is only the starting point. Illustrator allows you to get some lines down quickly and then to progressively refine them. REDUCTIVE DRAWING demands an experimental mind set. Don’t expect to just mimic the darks and lights that you see. You may need to reverse them, or ignore them to create very different shapes that “suggest” the shapes rather than delineate them. If you must give in after a few hours (and some help), here are some other images that you can attempt tracing: more pictures  Download and Double-Click the archive. Then select all the images and open them in the ADOBE BRIDGE. Drag your image choice to Illustrator to begin tracing. In the lecture in class, I will go over some of the methods for drawing and for making a REDUCTIVE DRAWING. While this should be a helpful start, only struggling with the image and coming to terms with its limitations will bring you an understanding of the process. If the class catches on to this projects and succeeds quickly, we will move on to more challenges next week. If not, this project presents challenges for even expert users. FOR NEXT WEEK: Bring in an example of “REDUCTIVE DRAWING” whether it was obviously done in Illustrator or not. _________________________________________________

Week 5: September 22, 2011

assigned 09/22/2011; due 09/29/2011 —— NOTE: depending on the completion rate of the reductive drawing project, this assignment my be postponed.

The Pepper in Simple Color Tabloid Bar Composition

COLOR IN ILLUSTRATOR INTRODUCTION TO THE CONCEPT OF “LIVE” & “EXPANDED” IN ILLUSTRATOR USING GRADIENTS AND BLENDS

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf. Study and/or review Chapter 2 (sec2:1 through sec2: 23) which covers many aspects of COLOR in Illustrator. In class we will explore the COLOR PANEL and SWATCHES PANEL and use them to create and save palettes of different types. We will review the differences between RGB and CMYK as well as PANTONE and other COLOR SYSTEMS. We will then move on to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR. In simple terms, an Illustrator OBJECT is “LIVE” if it remains an editable, visibly “whole” OBJECT in the PREVIEW MODE and its components remain visible and editable OBJECTS in the OUTLINE MODE. Once an OBJECT is “EXPANDED”, it is identical in both PREVIEW and OUTLINE. While it remains editable as a unique ILLUSTRATOR OBJECT, its component parts have been melded into a single ILLUSTRATOR OBJECT. This is the case with both GRADIENTS and BLENDS. It is almost always best to leave GRADIENTS “LIVE”, especially if they are complex. If BLENDS are used to create extraordinarily complexly shaped gradients (as will be demonstrated in class on our favorite PEPPER), it is usually best to leave them “LIVE” as well. However, there are many cases when EXPANDING a BLEND is useful, and times when it is necessary. There will some examples shown in class and also demonstrated i the videos. Go to the Videos page to see the videos that are covered in this evening’s class: (|  video54-154-19  |  video54-154-20  |  video54-154-21  |  video54-154-22  |  video54-154-23  |  video54-154-24  |  video54-154-25  |) If you never downloaded or no longer have the “Pepper Image File”, download it here: | pepper image  |. For this week’s project, you can use the Pepper, but you are also welcome to choose your own image and either draw it from life or trace it from a photograph. If you use your own image, make sure that its complexity is in its GRADIENT COLORS, not it outline shapes. THE CHALLENGE: For both beginners and intermediate/advanced Illustrator users: watch video 7 (#25) to see how you can put all the areas we have covered to use in a composition. Try your hand at this. DOWNLOAD the AfterDark file here: berendt_afterdark.ai_.zip  Open it in Illustrator. My suggestion is to take one of your ColorBar images (preferably your favorite or the one that has the most personal emotional resonance) and use its colors as the starting point for this 17″ X 11″, seven horizontal bar composition, by changing the supplied file’s colors to your own.. As I show in the video, get the the color “feeling” established and then start trying to make it more expressive. We will print these next week on the color Laser. For next week: Bring in a commercially printed piece that uses a GRADIENT or GRADIENT BLEND as its MAJOR FOCUS.

_________________________________________________________

Week 5: September 11, 2012

assigned 09/11/2012; due 09/27/2012 ——

The Pepper in Simple Color Tabloid Bar Composition

COLOR IN ILLUSTRATOR INTRODUCTION TO THE CONCEPT OF “LIVE” & “EXPANDED” IN ILLUSTRATOR USING GRADIENTS AND BLENDS

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf. Study and/or review Chapter 2 (sec2:1 through sec2: 23) which covers many aspects of COLOR in Illustrator. In class we will explore the COLOR PANEL and SWATCHES PANEL and use them to create and save palettes of different types. We will review the differences between RGB and CMYK as well as PANTONE and other COLOR SYSTEMS. We will then move on to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR. In simple terms, an Illustrator OBJECT is “LIVE” if it remains an editable, visibly “whole” OBJECT in the PREVIEW MODE and its components remain visible and editable OBJECTS in the OUTLINE MODE. Once an OBJECT is “EXPANDED”, it is identical in both PREVIEW and OUTLINE. While it remains editable as a unique ILLUSTRATOR OBJECT, its component parts have been melded into a single ILLUSTRATOR OBJECT. This is the case with both GRADIENTS and BLENDS. It is almost always best to leave GRADIENTS “LIVE”, especially if they are complex. If BLENDS are used to create extraordinarily complexly shaped gradients (as will be demonstrated in class on our favorite PEPPER), it is usually best to leave them “LIVE” as well. However, there are many cases when EXPANDING a BLEND is useful, and times when it is necessary. There will some examples shown in class and also demonstrated i the videos. Go to the Videos page to see the videos that are covered in this evening’s class: (|  video54-154-19  |  video54-154-20  |  video54-154-21  |  video54-154-22  |  video54-154-23  |  video54-154-24  |  video54-154-25  |) If you never downloaded or no longer have the “Pepper Image File”, download it here: | pepper image  |. For this week’s project, you can use the Pepper, but you are also welcome to choose your own image and either draw it from life or trace it from a photograph. If you use your own image, make sure that its complexity is in its GRADIENT COLORS, not it outline shapes. THE CHALLENGE: For both beginners and intermediate/advanced Illustrator users: watch video 7 (#25) to see how you can put all the areas we have covered to use in a composition. Try your hand at this. DOWNLOAD the AfterDark file here: berendt_afterdark.ai_.zip  Open it in Illustrator. My suggestion is to take one of your ColorBar images (preferably your favorite or the one that has the most personal emotional resonance) and use its colors as the starting point for this 17″ X 11″, seven horizontal bar composition, by changing the supplied file’s colors to your own.. As I show in the video, get the the color “feeling” established and then start trying to make it more expressive. We will print these next week on the color Laser. For next week: Bring in a commercially printed piece that uses a GRADIENT or GRADIENT BLEND as its MAJOR FOCUS.

_______________________________

Week 12: November 10, 2011

Let’s look at  COLORING BOOKS

lecture 11/10/2011; Intro to Using Illustrator to Design a Web Site
in tonight’s lecture we will switch from CMYK, 300 ppi, and inches, points, etc. to RGB, 72 ppi, and pixels as our units of measurement.
This will introduce a number of new Illustrator tools including:

  1. Document Raster Settings
  2. The grid preferences
  3. Snap to grid
  4. Making use of the TRANSFORM PANEL and the TRANSFORM entry fields on the OPTIONS BAR to override the snap constraints
  5. Pulldown/pullout guides and custom guides
  6. Using the guides to create SLICES
  7. Saving for Web and Devices

Week 10: October 27, 2011

lecture 10/27/2011; messing around with type
in tonight’s lecture we will create some fancy type using various Illustrator tools, including; Outline Stroke, Offset Path, Divide Objects Below, the Pathfinder Panel. You can load this font: HelveticaNeue

CLUCK VIDEO 1  |  CLUCK VIDEO 2  |  CLUCK VIDEO 3  |

Here is a Stratocaster for those of you who wish to practice image building:  stratocaster3.psd
We may get to this image after the lecture.

assigned 10/20/2011;
due 11/03/2011 —— This will be the first image in the Coloring Book Project
continued

Week 9: October 20, 2011

assigned 10/20/2011;
due 11/03/2011 —— This will be the first image in the Coloring Book Project

CAN THEY COLOR WITHIN THE LINES?
The Coloring Book Project: Bringing a visual idea to life for adults and/or children.

SERIOUS TRACING IN ILUSTRATOR
BASICS OF WORKING WITH STOCK IMAGERY
IF THIS WORKS OUT, WE WILL CREATE A BOOK CONTAINING ALL THE CLASS WORK WHICH YOU MAY (but won’t be required to) PURCHASE FOR YOURSELF – ABOUT $35.00

I hope mist of you remember coloring books. Were you an “inside the lines” or “close enough is close enough” colorer? You will get to revisit your early triumphs or tragedies, and perhaps put your karma right.

THE SERIOUS STUFF:
THERE ARE NO VIDEOS FOR THIS PROJECT
To do this project efficiently, you must use LAYERS with extravagant abandon. In fact, Coloring Book images without significant and sufficient use of LAYERS will be severely downgraded.
We will continue to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR, revisiting the PATHFINDER PANEL (not the Pathfinder Effect) and adding the Align and Transform Panels and officially going over the OUTLINE PATH, OFFSET STROKE , and DIVIDE OBJECTS BELOW commands to the tools available to you. We will also review and extend our exploration of the STROKE PANEL, either as a normal panel or in its OPTIONS BAR incarnation. We will continue to explore the COLOR PANEL and SWATCHES PANEL.

Project specifics:
PAGE SIZE: VCOM SHOW page = no larger than 10″ X 12″ (or 12″ X 10″) and no smaller than 7″ X 10″ (or 10″ X 7″).
COLOR SPACE: CMYK
PROJECT DEADLINE: November 3 for the first image.
PROCESS: Select an image (photographic or painting/drawing – preferably not a Major entertainment outlet vehicle unless you can bring something different, special, and good- that fits within your area of technical ability.
Down load the photo or stock image, photograph or scan the hard copy image and then open it in Illustrator, make it a TEMPLATE, create your first LAYER, choose the DIRECT SELECTION TOOL and then the PEN TOOL and start tracing.
PROJECT QUALITY BREAKDOWN:
Beginners; work select an image that is not too complex for your skill level so that you can complete it within the time period given. A simplified but high quality image should be your goal.
Intermediates; work as above, but choose an image that give you a bit of a challenge.
Advanced students; give yourself permission to show off. When in doubt, consult me!

For next week: Consider how you can extend the idea you have started with this first image. What kind of cover should it have? Should there be an “explanation page”?

Week 8: October 13, 2011

assigned 10/06/2011;
due 10/20/2011 —— NOTE: this will be the last extension. Self Portrqaits are due next week.

YOU OUGHTA BE IN PICTURES!
The Self Portrait: working with strokes; drawing strategies.

SERIOUS TRACING IN ILUSTRATOR
BASICS OF PORTRAIT PHOTOGRAPHY

Face it (pun intended), we all like to check ourselves out, even those few of us who only want to confirm that we haven’t gotten any worse looking in the last 2 hours. In VCOM’s continued interest in accepting reality as the truth, we are going to use this in our next assignment. Ostensibly an exercise in tracing and the use of Illustrator’s PEN TOOL, LAYERS, digital drawing strategies and techniques, this project actually gives each student the chance to spend any number of selfish, quality time hours gazing at their own face. How sweet is that?

THE SERIOUS STUFF:
To do this project efficiently, you must use LAYERS with extravagant abandon. In fact, Self-Portraits without significant and sufficient use of LAYERS will be severely downgraded.
We will continue to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR, officially adding the PATHFINDER PANEL (not the Pathfinder Effect) to the tools available to you. We will also review and extend our exploration of the STROKE PANEL, either as a normal panel or in its OPTIONS BAR incarnation. We will continue to explore the COLOR PANEL and SWATCHES PANEL.
To start with, I (or other students with cameras) will take a portrait of each student. These will be uploaded to the server to be placed in each student’s 54 or 154 folder. We will then proceed to continue in your pursuit of PEN TOOL COMPETENCE.

Project specifics:
PAGE SIZE: VCOM SHOW page = 16″ X 20″ (or 20″ X 16″)
COLOR SPACE: CMYK
PROJECT DEADLINE: OCTOBER 6 or 13 (depending on how quickly the class comes up to speed).
PROJECT QUALITY BREAKDOWN:
Beginners; work to achieve a “reductive drawing” sense of shading and color. A simplified but high quality image should be your goal.
Intermediates; work as above, but think in terms of 3 to 6 colors in light to dark of skin tones.
Advanced students (and please don’t indulge in megalomaniac fantasies here – don’t even attempt this without my permission); I will work with you to use a combination of gradients, blends, clipping masks, and a small dose of judiciously applied blending modes and transparency to help you create true portfolio pieces.

Go to the Videos page to see the videos that are covered in this evening’s class: |  video54-154-selfport1  |  video54-154-selfport2  |  video54-154-selfport3  |  video54-154-selfport4  |  video54-154-selfport5  |  video54-154-selfport6  |  video54-154-selfport7  |  video54-154-selfport8  |

For next week: Bring in an example, historical or contemporary of a COLORING BOOK PAGE.

Week 6: September 29, 2011

assigned 09/29/2011;
due 10/06/2011 —— NOTE: depending on the completion rate of the reductive drawing project, this assignment my be postponed.

YOU OUGHTA BE IN PICTURES!
The Self Portrait: working with strokes; drawing strategies.

SERIOUS TRACING IN ILUSTRATOR
BASICS OF PORTRAIT PHOTOGRAPHY

Face it (pun intended), we all like to check ourselves out, even those few of us who only want to confirm that we haven’t gotten any worse looking in the last 2 hours. In VCOM’s continued interest in accepting reality as the truth, we are going to use this in our next assignment. Ostensibly an exercise in tracing and the use of Illustrator’s PEN TOOL, LAYERS, digital drawing strategies and techniques, this project actually gives each student the chance to spend any number of selfish, quality time hours gazing at their own face. How sweet is that?

To do this project efficiently, you must use LAYERS with extravagant abandon. In fact, Self-Portraits without significant and sufficient use of LAYERS will be severely downgraded.
We will continue to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR, officially adding the PATHFINDER PANEL (not the Pathfinder Effect) to the tools available to you. We will also review and extend our exploration of the STROKE PANEL, either as a normal panel or in its OPTIONS BAR incarnation. We will continue to explore the COLOR PANEL and SWATCHES PANEL.
To start with, I (or other students with cameras) will take a portrait of each student. These will be uploaded to the server to be placed in each student’s 54 or 154 folder. We will then proceed to continue in your pursuit of PEN TOOL COMPETENCE.

Project specifics:
PAGE SIZE: VCOM SHOW page = 16″ X 20″ (or 20″ X 16″)
COLOR SPACE: CMYK
PROJECT DEADLINE: OCTOBER 6 or 13 (depending on how quickly the class comes up to speed).
PROJECT QUALITY BREAKDOWN:
Beginners; work to achieve a “reductive drawing” sense of shading and color. A simplified but high quality image should be your goal.
Intermediates; work as above, but think in terms of 3 to 6 colors in light to dark of skin tones.
Advanced students (and please don’t indulge in megalomaniac fantasies here – don’t even attempt this without my permission); I will work with you to use a combination of gradients, blends, clipping masks, and a small dose of judiciously applied blending modes and transparencyto help you create true portfolio pieces.

Go to the Videos page to see the videos that are covered in this evening’s class: (videos are on their way but not here yet|  video54-154-selfport1  |  video54-154-selfport2  |  video54-154-selfport3  |)

For next week: Bring in an example, historical or contemporary of excellent self portraiture.

Week 5: September 22, 2011

assigned 09/22/2011;
due 09/29/2011 —— NOTE: depending on the completion rate of the reductive drawing project, this assignment my be postponed.

The Pepper in Simple Color
Tabloid Bar Composition

COLOR IN ILLUSTRATOR
INTRODUCTION TO THE CONCEPT OF “LIVE” & “EXPANDED” IN ILLUSTRATOR
USING GRADIENTS AND BLENDS

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf. Study and/or review Chapter 2 (sec2:1 through sec2: 23) which covers many aspects of COLOR in Illustrator.

In class we will explore the COLOR PANEL and SWATCHES PANEL and use them to create and save palettes of different types. We will review the differences between RGB and CMYK as well as PANTONE and other COLOR SYSTEMS.
We will then move on to explore the concepts of “LIVE” & “EXPANDED” IN ILLUSTRATOR. In simple terms, an Illustrator OBJECT is “LIVE” if it remains an editable, visibly “whole” OBJECT in the PREVIEW MODE and its components remain visible and editable OBJECTS in the OUTLINE MODE. Once an OBJECT is “EXPANDED”, it is identical in both PREVIEW and OUTLINE. While it remains editable as a unique ILLUSTRATOR OBJECT, its component parts have been melded into a single ILLUSTRATOR OBJECT.
This is the case with both GRADIENTS and BLENDS. It is almost always best to leave GRADIENTS “LIVE”, especially if they are complex. If BLENDS are used to create extraordinarily complexly shaped gradients (as will be demonstrated in class on our favorite PEPPER), it is usually best to leave them “LIVE” as well. However, there are many cases when EXPANDING a BLEND is useful, and times when it is necessary. There will some examples shown in class and also demonstrated i the videos.

Go to the Videos page to see the videos that are covered in this evening’s class: (|  video54-154-19  |  video54-154-20  |  video54-154-21  |  video54-154-22  |  video54-154-23  |  video54-154-24  |  video54-154-25  |)
If you never downloaded or no longer have the “Pepper Image File”, download it here: | pepper image  |. For this week’s project, you can use the Pepper, but you are also welcome to choose your own image and either draw it from life or trace it from a photograph. If you use your own image, make sure that its complexity is in its GRADIENT COLORS, not it outline shapes.

THE CHALLENGE: For both beginners and intermediate/advanced Illustrator users: watch video 7 (#25) to see how you can put all the areas we have covered to use in a composition. Try your hand at this. DOWNLOAD the AfterDark file here: berendt_afterdark.ai_.zip  Open it in Illustrator. My suggestion is to take one of your ColorBar images (preferably your favorite or the one that has the most personal emotional resonance) and use its colors as the starting point for this 17″ X 11″, seven horizontal bar composition, by changing the supplied file’s colors to your own.. As I show in the video, get the the color “feeling” established and then start trying to make it more expressive. We will print these next week on the color Laser.

For next week: Bring in a commercially printed piece that uses a GRADIENT or GRADIENT BLEND as its MAJOR FOCUS.

Week 7: October 2, 2012

assigned 10/02/20112;
due 10/09/2012

REDUCTIVE DRAWING

Drawing (and tracing) with the PEN TOOL

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf. Study and/or eview Chapter 4 which covers the PEN TOOL.
Go to the Videos page to see the videos that are covered in this evening’s class: |  video54-154-14  |  video54-154-15|  |  video54-154-16  |  video54-154-17  |  video54-154-18  | Videos 17 and 18 are for those of you who are still really struggling with the PEN TOOL. Download the following file, “flipflop.jpg”, if you wish to work along with the videos. flipflop.jpg. You really should try to draw “from life” before you give up and go back to tracing.

INTERMEDIATE AND ADVANCED STUDENT MUST ATTEMPT A REDUCTIVE DRAWING!
All more advanced students should attempt “drawing from life” using the item you brought in. Videos 14 through 16 take you through the process of working from an actual item rather than tracing a photo. Do as much as you can. Use only CLOSED SHAPES and only BLACK or WHITE. REMEMBER, the item you are drawing is only the starting point. Illustrator allows you to get some lines down quickly and then to progressively refine them. REDUCTIVE DRAWING demands an experimental mind set. Don’t expect to just mimic the darks and lights that you see. You may need to reverse them, or ignore them to create very different shapes that “suggest” the shapes rather than delineate them. If you must give in after a few hours (and some help), here are some other images that you can attempt tracing: more pictures  Download and Double-Click the archive. Then select all the images and open them in the ADOBE BRIDGE. Drag your image choice to Illustrator to begin tracing.

In the lecture in class, I will go over some of the methods for drawing and for making a REDUCTIVE DRAWING. While this should be a helpful start, only struggling with the image and coming to terms with its limitations will bring you an understanding of the process. If the class catches on to this projects and succeeds quickly, we will move on to more challenges next week. If not, this project presents challenges for even expert users.

FOR NEXT WEEK: Bring in an example of “REDUCTIVE DRAWING” whether it was obviously done in Illustrator or not.

Week 3: September 8, 2011

assigned 09/08/2011;
due 09/15/2011

(a) Color Review in the PDF Book

(b) Introduction to the Pen Tool

If you have not done so already, download my Illustrator PDF Book from the Media Page or use this link: Illustrator-chapters1-5.pdf
If you are familiar with Illustrator, review Chapter Two, making sure you understand the main workings of the Color Panel, the Swatches Panel, and the Fill/Stroke icon at the base of the Tool Bar.
If you are new to Illustrator, study Chapter Two, making sure you understand the workings of the Color Panel, the Swatches Panel, and the Fill/Stroke icon at the base of the Tool Bar. If you cannot create colors and edit colors, you really can’t use Illustrator. Do not explore the premade palettes available from the Fly-Out menu or the Library Icons on the Swatches Panel UNTIL you understand how to make your own colors and gradients and assemble them into Color Groups and Palettes.
Go to the Videos page to see the videos that are covered in this evening’s class: |  video54-154-11  |  video54-154-12  (these are about interface and color)

|  video54-154-13  | video54-154-14  (these are intermediate PENTOOL PEPPER videos)

In class, we will explore CREATING COLOR  in Illustrator. We will go over the interaction between the FILL/STROKE ICONS at the base of the TOOL BAR and in the upper left corner of the COLOR PANEL with the COLOR  SLIDERS, as well as the “Spectrum Picker”, on the COLOR PANEL and when using the SWATCHES PANEL. We will create, name, and rename SWATCHES. We will work with both the DOCUMENT COLOR SYSTEMS and the COLOR PANEL COLOR SYSTEMS as COLOR PANEL OPTIONS. There are videos.

We will then begin exploring the PEN TOOL. I will teach some very basic techniques for creating curves, corners, and various non-straight lines.
BEGINNING STUDENTS: watch the PEN TOOL VIDEOS! then download the file “pentool_practice.zip” from the MEDIA PAGE and practice the PEN TOOL techniques I showed you in class by tracing the shapes on the 3 pdf documents.
INTERMEDIATE STUDENTS: watch the PEN TOOL VIDEOS if you feel you need review. Then open and retrace the PEPPER IMAGE (CLICK THIS LINK: pepper1.jpg), then study the color areas on the pepper the PEPPER and sub-divide it into meaningful color areas as demonstrated on the video. If the beginners catch on to the PEN TOOL quickly, I will demonstrate this technique to the class.
ADVANCED STUDENTS: Choose a difficult PHOTOGRAPH or ARTWORK and begin tracing. I will work with you one on one to help develop you strategy and technique.

FOR NEXT WEEK: Bring in a DRAWING PAD, a PENCIL, and a KNEADED ERASER and piece of fruit, a vegetable, a shoe, or some other moderately complexly shaped item (I mean, no BOXES or BALLS) to draw.

Class 1: August 21, 2012

assigned: Monday, 08/211/2012;
due: Monday 08/29/2012

LAYERS, KEYBOARD COMMANDS, WORDS & IMAGES

Go to the Videos page to see the videos that are covered in this evening’s class: | video54-154-07  |  video54-154-08  |  video54-154-09  |  video54-154-10  |

Advanced students must do this exercise. The purpose here is to start combining words and images to make something stronger than both.

As shown in class, create an illustrator file, name the first layer BOLD. Create a new LAYER and move it below the BOLD LAYER. Set the FILL to NONE and the STROKE to Black, and select the RECTANGLE TOOL (“m”). HOLD DOWN the OPTION KEY and CLICK in the center of the document. In the DIALOG BOX that opens, type 6 in both text entry fields. CLICK OK. Go: EDIT> CUT (cmd X), then VIEW > ACTUAL SIZE, then EDIT > PASTE (cmd V). You now have a 6″ Square in the center of your document. Set the FILL to BLACK and the STROKE to NONE, and select the RECTANGLE TOOL (“m”) if it is no longer selected. Using only Black and White Rectangles and Squares, create a BOLD composition. To create the BLACK or WHITE FILL, use either the Black Box and White Box on the SWATCHES PANEL, the BLACK and WHITE and NONE icon boxes on the COLOR PANEL, or the DEFAULT (Black Stroke/White Fill) icon on the bottom of the TOOL BAR and then the judicious use of the SWITCH FILL STROKE ARROW and the NONE Icon near the FILL and STROKE icon on the bottom of the TOOL BAR.

Use the SELECTION TOOL (v) to MOVE and ROTATE your rectangles. Add the OPTION KEY to the SELECTION TOOL to make DRAG copies. Ass the SHIFT KEY to the SELECTION TOOL to CONSTRAIN your MOVE to VERTICAL, HORIZONTAL,or 45° ANGLE. Use the DIRECT SELECTION TOOL (a) to select ANCHOR POINTS and PATH EDGES to DISTORT your RECTANGLE. If you have questions, outside of class, watch the videos.

Then go on an make 5 more LAYERS and name them: ORDER, INCREASE, TENSION, CONGESTION, PLAYFUL.