Adobe illustrator cs5 classroom in a book pdf free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Throughout this title you will see references. With the Blend tool you can blend the shapes and colors of objects together into a new lesson. Therefore, it works best on video footage rather than a graphic layer, such as the background in this project. These settings control how much detail is removed and how it is smoothed. Higher values remove more detail. These settings determine how color is reduced and how gradients are preserved. The layer becomes black and white temporarily.

These settings reduce the number of black lines on the subject. This makes the image even more cartoonish. The only thing missing is the title to identify the program. Creating a self-animating shape Wiggle Paths turns a standard rectangle into a series of jagged peaks and valleys.

Because the operation is self-animating, you only need to change a few properties for the entire shape to move on its own. Then change the Size to and the Detail to In the Character panel, select a sans serif font, such as Arial Black, and specify a size of 60 pixels.

Adobe Bridge opens, displaying the available animation presets. Press the spacebar to stop the preview. To use the Brainstorm feature, select the layer or properties you want to include, and then click the Brainstorm icon. The Brainstorm dialog box displays multiple variations of your image, based on randomized settings. You can save one or more of the variants, apply one to a composition, or redo the Brainstorm operation.

The Brainstorm feature works especially well with animation presets. Soloing excludes all other layers of the same type from the Composition panel. To see all the variants in action, click the Play button.

The feature randomizes the properties and displays variants. Name the button to match its function, such as Play Movie or Scene Selection.

Then use the menus to assign up to three highlight layers and one video thumbnail layer. Review answers 1 A shape layer is simply a layer that contains a vector graphic called a shape. To create a shape layer, draw a shape directly in the Composition panel using any of the drawing tools or the Pen tool. The feature makes it possible to explore numerous possibilities quickly and easily, and to save or apply them with a single click.

You will animate an illustration of the artist driving a car on a city street. This is a complex animation.

You will start by animating the background and some objects so that the virtual camera appears to move from left to right across the scene. You may delete the sample movie from your hard disk if you have limited storage space. The CarRide composition is already open in the Composition and Timeline panels.

Now, you will use it to synchronize the movement of the objects in three layers—the leaves, full skyline, and the FG foreground layers—with the BG background layer of the animation. BG from the pop-up menu. This establishes the three selected layers as child layers to the parent layer, which is layer 8, named BG the background. This, in turn, will animate the child layers in the same way.

Then type the desired time without punctuation as in for , and press Enter or Return. The background now moves across the composition, and because the leaves, full skyline, and FG layers are child layers to the BG parent layer, they also move horizontally from the same starting position.

You will animate it next. The bee is not visible at in the Composition panel. Then click the stopwatch icon to create a Position keyframe. You can trim footage by changing the In and Out points in the Layer panel or the Timeline panel, depending on what you want to change. Previewing the animation A quick manual preview will show you how the elements in the scenery move. The animation of the background, leaves, bee, foreground objects, and the objects in the skyline makes it appear as if a camera is panning across the scene.

The red car is on the Artist layer. To edit the anchor point of the Artist layer, you need to work on the Artist layer in the Layer panel. This is a temporary position that lets you see the car onscreen while you mask the driver into place, which is your next task. With the car positioned onscreen, you can add the driver.

You will use a custom animation preset to create a mask from a shape layer. Adobe Bridge opens. You can close Adobe Bridge or leave it open to use later in this lesson.

For example, you can use shape tools or the Pen tool to draw a mask. Artist from the Parent menu. Animating a Multimedia Presentation 5 Go to , and change the Position values for the Artist layer to You can create a motion path for the position of the layer or for the anchor point of a layer. A position motion path appears in the Composition panel; an anchor-point motion path appears in the Layer panel.

The motion path appears as a sequence of dots in which each dot marks the position of the layer at each frame. A box in the path marks the position of a keyframe. Dots close together indicate a slower speed; dots farther apart indicate a faster speed. Then click the stopwatch to set a Scale keyframe. Previewing your work Now that the keyframes are set for the moving car, preview the entire clip, and make sure the driver is framed to create a pleasant composition.

The blue car is actually on a precomposed layer that also contains a yellow car. In this example, the vehicles layer contains one nested layer with a blue car and one nested layer with a yellow car. Press Shift after you start to drag to constrain the movement vertically. Animating the buildings Animated buildings? You bet. Notice that this composition has three layers: skyline, building, and buildings.

Press Shift after you start to drag to constrain the horizontal axis. Naturally jumping buildings? Aw, come on. This is fun. This adjusts the speed of change as the motion approaches and retreats from the keyframe. Do the same for the skyline layer. This applies motion blur to all of the nested layers. Take a look at the animation from the beginning. If you change settings for a solid that is used by more than one layer, you can apply the changes to all layers that use the solid or to only the single occurrence of the solid.

Use solid layers to color a background or to create simple graphic images. In the Solid Settings dialog box, name the layer radio waves, and then click the Make Comp Size button. Then click OK to create the layer. By default, the radio waves layer lasts the duration of the composition.

Then, in the Composition panel, click to set the producer point at the top of the pyramid. You just need to parent the radio waves layer to the full skyline layer so that the waves travel with the building across the composition. You may need to expand the Preview panel to see all the options. Then press the Home key, or move the current-time indicator to the beginning of the time ruler. However, this slide-show technique could easily be adapted to other uses, such as presenting family photos or making a business presentation.

To help you choose, use Adobe Bridge to preview them. Currently, the Artwork layer is set to start at You need to adjust the timing of the layer so that it appears at This drops out the pure white in each image and replaces it with the softer white of the canvas.

Now the artwork appears gradually. Continuous rasterization means that graphics stay sharp as they are scaled up. The FLV and F4V formats are container formats, each of which is associated with a set of video and audio formats.

Adobe Bridge lets you preview audio. Click the Pause button or press the spacebar to stop. Luckily, this music track has been composed to loop cleanly. A Time Remap property appears for the layer in the Timeline panel, and two Time Remap keyframes appear for the layer in the time ruler. The audio is now set to loop in a cycle, repeating the clip endlessly. All you need to do is extend the Out point of the layer to the end of the composition. The motion path appears as a sequence of dots, where each dot marks the position of the layer at each frame.

Use solid layers to color a background or create simple graphic images. You may delete the sample movies from your hard disk if you have limited storage space. Click Close to close the Welcome screen. Resize the Name column to make it wider and easier to read, if necessary.

Similarly, there are two layers for the two lighting conditions outside the window: Window and Window Lit. The Window Pane layer includes a Photoshop layer style that simulates a pane of glass. About Photoshop layer styles Adobe Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer. The layer style properties are available for the layer in the Timeline panel. Soloing the layers isolates them to speed animating, previewing, and rendering.

Currently, the lit background is on top of the regular darker background, obscuring it and making the initial frame of the animation light. However, you want the animation to start dark, and then lighten. Now, when the animation begins, the Background Lit layer is transparent, which allows the dark Background layer to show through. Make sure to leave the Opacity property for the Background Lit layer visible. The Window Pane layer has a Photoshop layer style that creates a bevel on the window.

The interior of the room transitions gently from dimly to brightly lit. Duplicating an animation using the pick whip Now, you need to lighten the view through the window. About expressions When you want to create and link complex animations, such as multiple car wheels spinning, but want to avoid creating tens or hundreds of keyframes by hand, you can use expressions instead.

You can create expressions by using simple examples and modifying them to suit your needs, or by chaining objects and methods together. The words transform. Notice that the Opacity values for the two layers match. Notice that the sky outside the window lightens as the room inside the window does.

For one thing, the sun should actually rise. Previewing the animation Now, see how it all comes together. So far, so good!

A new Timeline panel named Window Contents appears. It contains the Sun, Birds, and Clouds layers you selected in step 1 above. The Window Contents composition also appears in the Composition window. Notice that the Sun, Birds, and Clouds layers have been replaced by the Window Contents layer, which refers to the Window Contents composition. About track mattes and traveling mattes When you want one layer to show through a hole in another layer, set up a track matte.

When you animate the track matte layer, you create a traveling matte. In both alpha-channel mattes and luminance mattes, pixels with higher values are more transparent. In most cases, you use a high-contrast matte so that areas are either completely transparent or completely opaque. Intermediate shades should appear only where you want partial or gradual transparency, such as along a soft edge.

A B C Traveling matte A. Track matte layer: a solid with a rectangular mask, set to Luma Matte. The mask is animated to travel across the screen. The alpha channel of the layer above Window Lit 2 is used to set transparency for the Window Contents layer, so that the scenery outside the window shows through the transparent areas of the windowpane.

Adding motion blur The birds will look more authentic if they include motion blur. Larger values create more motion blur. In a realistic time-lapse image, they would shorten as the sun rises.

For example, you could use 3D layers and lights. You can use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. Small circles appear around the corner points of the Shadows layer in the Composition panel. To adjust that corner, switch to the Hand tool , and drag up in the Composition panel so that you can see some of the pasteboard below the image.

Then switch back to the Selection tool , and drag the lower-right corner-pin handle to the approximate location of the lower-right corner of the glass tabletop. You may also need to move the two upper corners in slightly so that the bases of the shadows still align properly with the vase and clock.

Then switch back to the Selection tool , and deselect the layer. Click OK to return to the Solid Settings dialog box. The hands of the clock should be spinning quickly to show the progress of time. Close the sunrise Layers folder, and then double-click an empty area in the panel to open the Import File dialog box.

The QuickTime movie clock. Drag the clock. The Render Queue panel opens. Then click Save. So far, you have created a straightforward time-lapse simulation.

Time remapping lets you dynamically speed up, slow down, stop, or reverse footage. You can also use it to do things like create a freeze-frame result. Now you can remap all of the elements of the project at once. A Time Remap property also appears under the layer name in the Timeline panel; this property lets you control which frame is displayed at a given point in time. The Layer panel provides a visual reference of the frames you change when you remap time.

It displays two time rulers: The time ruler at the bottom of the panel displays the current time. The Source Time ruler, just above the time ruler, has a remap-time marker that indicates which frame is playing at the current time. That will change as you remap time. This remaps time so that frame plays at The composition now runs at half-speed until , and at a regular speed thereafter. In layer bar mode, in contrast, the time ruler represents only the horizontal time element, without a graphical display of changing values.

The angle of the line is shallow up to , and then becomes steeper. The steeper the line, the faster the playback time. Using the Graph Editor to remap time When remapping time, you can use the values in the time-remap graph to determine and control which frame of the movie plays at which point in time.

These initial Time Remap keyframes have vertical time values equal to their horizontal position. Every time you add a Time Remap keyframe, you create another point at which you can change the playback speed or direction. As you move the keyframe up or down in the time-remap graph, you adjust which frame of the video is set to play at the current time. Have some fun with the timing of this project. Watch the time ruler and Source Time ruler in the Layer panel to see which frames are playing at any given point in time.

Having fun yet? Keep going. Ctrl or Command temporarily activates the Add Vertex tool. Now the animation progresses rapidly, holds for two seconds on the last frame, and then runs in reverse. If you drag it to the right, the transition is softer; if you drag it down or to the left, the transition is more pronounced. Scaling the animation in time Finally, use the Graph Editor to scale the entire animation in time.

The entire graph shifts, reducing the top keyframe values and slowing playback. If you press Alt Windows or Option Mac OS and drag one corner of the free-transform box, the animation is skewed in that corner as you drag.

You can also drag one of the right transform handles to the left to scale the entire animation so that it happens more quickly. It also preserves other features, such as adjustment layers and type.

The pick whip is also a way to create parenting relationships. To use the pick whip, simply drag the pick whip icon from one property to another. When remapping time, you can use the values in the time-remap graph in the Graph Editor to determine and control which frame of the movie plays at which point in time. Use masks to control what appears.

A mask consists of segments and vertices: Segments are the lines or curves that connect vertices. A mask can be either an open or a closed path. An open path has a beginning point that is not the same as its end point; for example, a straight line is an open path. A closed path is continuous and has no beginning or end, such as a circle. Closed-path masks can create transparent areas for a layer. Each layer can contain multiple masks. You can draw masks in common geometric shapes—including polygons, ellipses, and stars—with the shape tools, or you can use the Pen tool to draw an arbitrary path.

Begin by previewing the movie and setting up the project. In this case, you can use the settings in the Interpret Footage dialog box to reinterpret your footage. To replace it with the news promo, you need to mask the screen.

You may need to use the Hand tool to reposition the view in the panel. The Pen tool creates straight lines or curved segments. When a circle appears next to the pointer as in the middle image below , click to close the mask path. So you need to invert the mask. Only 1 left in stock – order soon. Get it Aug 16 – Get it as soon as Monday, Aug Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Adobe Systems. 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.

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Verified Purchase. This book covers a lot of topics and in decent detail. As an absolute beginner this is a wonderful resource. I purchased the printed version so I could easily refer back to spots in the book should I have any issues.

Plus, I prefer having the book near my laptop as I read. The topics range from using artboards to 3d rendering. Each lesson tells you how long approximately it should take you for each lesson. These were typically on target, a few I spent additional time trying out what was just taught on a few chapters.

It even goes over what is new in CS5. One person found this helpful. The Illustrator is a complicated program but this book does a good job of explaining various features through lessons.

While following the instructions in the book, I realized how difficult it is for them to describe every step precisely and clearly, in part because the book has to address both PC and Mac users and the program menus and tool settings change depending on the screen resolution of the user computer. For example, the book asks the reader to click the word Transform but some readers may not see the Transform in the described panel because of their limited screen resolution.

So the book describes another way of selecting the Transform. In addition, the Illustrator is highly customizable, so the book reminds the reader to start with the default settings, not just once but over and over again. So the book tries hard not to lose the reader in the lessons by anticipating possible situations the reader may face. Due to the complexity of the program, every step has to be described very clearly in order for the reader to successfully complete each lesson.

Sometimes I was stuck because my result from the previous step was different from what the book expected. I thought the book missed some step or the previous step was incomplete. After spending some time trying to figure out what went wrong, I just corrected the result in my way to match the book’s result.

Considering the complexity of the program and the variety of the user hardware environment, I thought the book does a good job of getting the user started with the Illustrator. I know there is still a long way for me to go but I feel that I have a good foundation to grow from thanks to the book. I just started reading this book while completing the exercises page by page and for a beginner, it is simple to follow and in my opinion, the BEST way to learn.

From the very first page, you create the cover of a tea box! The second exercise, which I’m on now, is creating and laying out a brochure! The exercises have me pacing the house and wanting to pull my hair out because my brain feels like it is going to explode from all the information, but in a very good way. I feel like this book, if I follow every single step, will truly have me mastering this program little by little. I am enjoying the Adobe Illustrator Classroom in a book.

It will be a nice reference guide once I’m through my course. However, I feel the invaluable lessons my teacher gives me that the book doesn’t really touch on is much needed.

I am now working on my own personal logo for a class project, and understand how to draw curves those are the trickiest to learn in my opinion , how to do gradient fills, and how to make and delete layers. I’m also looking forward to trying some projects in the future on masking objects. It’s definitely a good book for those interested in learning Illustrator.

The projects in the book are step-by-step and walk you through how to do each thing. You will get a lot of practice using the pen tool and the text tool. I have no formal education in graphics, but I needed a program to help me create patterns for my business.

I selected Illustrator. I knew I would need help learning to use Illustrator. I selected this Classromm in a Book for Illustrator based on the reviews. You have now used four methods with the Zoom tool to change the magnification in the image window: clicking, holding down a keyboard modifier while clicking, dragging to zoom in and out, and dragging to define a magnification area. Many of the other tools in the Tools panel can be used with keyboard combinations and options, as well. Selecting and using a hidden tool Photoshop has many tools you can use to edit image files, but you will probably work with only a few of them at a time.

A small triangle in the lower-right corner of a button is your clue that other tools are available but hidden under that tool. Select that tool. An animated dashed line indicates that the area inside it is selected. When you select an area, it becomes the only editable area of the image. When you drag the selection, only the selection border moves, not pixels in the image. You usually activate these modes by holding down specific keys as you move the tool with the mouse.

Some tools have modes that you choose in the options bar. If, however, options bar. Selected editable area area the headlight cannot be changed while the selec- the future, you can just B. Unselected protected press that keyboard tion is active. As you drag, highlights are brightened in the selected area of the image. Lessons 2, 6, and 10, in particular, address techniques like those used in classic darkroom work, such as adjusting for exposure, retouching, and correcting colors.

Zooming and scrolling with the Navigator panel The Navigator panel is another speedy way to make large changes in the zoom level, especially when the exact percentage of magnification is unimportant. The slider under the image thumbnail in the Navigator panel enlarges the image when you drag to the right toward the large mountain icon and reduces it when you drag to the left. The red rectangular outline represents the area of the image that appears in the image window.

When you zoom in far enough that the image window shows only part of the image, you can drag the red outline around the thumbnail area to see other areas of the image. When you selected the Zoom tool in the previous project, you saw that the options bar contained options that change the view of the current image window. Previewing and opening another file he next project involves a promotional postcard for a community project.

You can access many of the features of Adobe Bridge without leaving Photoshop. Double-click the Lesson01 folder in the Content area of the Mini Bridge panel. Photoshop, to display he buttons and menus in the options bar now relate to the Type tool. We used finger slider to the right increases the value; Garamond, but you can use another font if you prefer. Alt-dragging Windows or Option-dragging Mac OS changes the values in smaller increments; Shift- dragging changes them You can specify 38 points by typing directly in the font-size text box and pressing in larger increments.

Enter or Return, or by scrubbing the font-size menu label. You can also choose a standard font size from the font-size pop-up menu. Typing V will add the letter to your text in the image window. Using panels and panel menus he text color in your image is the same as the Foreground Color swatch in the Tools panel, which is black by default. Select any other tool in the temporarily changes into an eyedropper. Tools panel to deselect the text so that you can see the color applied to it.

Set the tip of the eyedropper on the swatch you want, and click to select it. Now the text appears in the lighter violet color. Resetting the default colors does not change the color of the text in the image, because that text is no longer selected.

Nice job! For the real world, Photoshop gives you the power to step back and undo actions so that you can try other options. Photoshop features many kinds of layers, some of which contain images, text, or solid colors, and others that simply interact with layers below them. Both files appear in the Preview panel. In the start file, the tie is solid; in the end file, it is patterned. Notice the listings in the Layers panel.

A clipping mask works somewhat like a selection in that it restricts the area of the image that can be altered. With the clipping mask in place, you can paint a design over the tie without worrying about any stray brush strokes disturbing the rest of the image. In the list of brushes, select the Soft Round Pressure Size brush. Illustration: Pamela Hobbs Oops! You could use the Step Backward command to undo additional steps one at a time. Several previous actions are undone.

Now the History panel restores the earlier listing of dimmed actions. By default, the Photoshop History panel retains only the last 20 actions.

Using a context menu Context menus are short menus that contain commands and options appropriate to specific elements in the work area. Usually, the commands on a context menu are also available in some other area of the user interface, but using the context menu can save time.

Context menus vary with their context, of course, so what appears can be a menu of commands or a panel-like set of options, which is what happens in this case.

You may need to scroll up or down the list in the context menu to find the right brush. If the tie area is hidden behind the Brush tool context menu, click another area or double-click your selection in the context menu to close it. When you finish making changes to your tie design, give yourself a pat on the back for finishing another project. More about panels and panel locations Photoshop panels are powerful and varied. Rarely would you need to see all panels simultaneously.

You can open a closed panel or close an open one by selecting the panel name in the Window menu. To reopen them, press Tab again. You can drag panels to or from the panel dock. You can arrange panels in other ways, as well: t To move an entire panel group, drag the title bar to another location in the work area. To expand a panel, click its icon or the double arrow. You can also pull the lower-right corner in or out. Double-click again to restore it to the the Color, Character, and Paragraph panels.

You can open the panel menu even when the panel is collapsed. Notice that the tabs for the panels in the panel group and the button for the panel menu remain visible after you collapse a panel. You can move the options bar to another location by dragging the grab bar at the far left end of the panel. In fact, following exercise. If prompted, click Yes to apply the workspace.

Photoshop returns to the default workspace. You can choose workspaces from the Window menu or from the pop-up menu in the Application bar. Say, for example, that you do lots of web design, but no digi- tal video work. You can specify which menu items to display in the workspace. You can hide commands that you use infrequently, or highlight commonly used commands to make them easier to see. Photoshop displays the View menu commands and subcommands.

Photoshop removes them from the menu for this workspace. Choose Red from the pop-up menu to highlight this command in red. RGB Color is now highlighted in red. In the New Workspace dialog box, give your workspace a name, select the Menus and Keyboard Shortcuts options, and then click Save. For now, return to the default workspace configuration. Once you know the basics, you can complete the Adobe Photoshop CS5 Classroom in a Book lessons either in sequen- tial order or according to the subjects you find most interesting.

Finding resources for using Photoshop For complete and up-to-date information about using Photoshop panels, tools, and other application features, visit the Adobe website. You can narrow your search results to view only Adobe Help and support documents, as well. For additional resources, such as tips and techniques and the latest product infor- mation, check out the Adobe Community Help page at community. You can easily obtain these Preferences in the updates through Adobe Application Manager, as long as you have an active Adobe Application Internet connection.

Adobe Application Manager be notified of updates, automatically checks for updates available for your Adobe software. Click Done to accept the new settings. Horizontal selection using an adjust- areas. Type T able round brush tip. The Eraser tool erases The Background Eraser The Magic Eraser tool The Gradient tool creates pixels and restores parts tool erases areas to trans- erases solid-colored areas straight-line, radial, angle, of an image to a previously parency by dragging.

The type tools create type The type mask tools The path selection tools The shape tools and Line on an image. Review answers 1 You can scan a photograph, transparency, negative, or graphic into the program; capture a digital video image; or import artwork created in a drawing program. You can also import digital photos. To select a hidden tool, either use a keyboard shortcut to toggle through the tools, or hold down the mouse button on the tool in the Tools panel to open a pop-up menu of the hidden tools.

You can also use keyboard shortcuts or the Navigator panel to control the display of an image. Photoshop also includes a link to the Adobe Systems Photoshop web page for additional information on services, products, and tips pertaining to Photoshop. This lesson steps you through the process of acquiring, resizing, and retouching a photo intended for a print layout. For many images, you can achieve your desired outcome with just a few clicks in Adobe Camera Raw, which is installed with Adobe Photoshop.

For others, you may start in Camera Raw to adjust the white point, for example, and then move on to Photoshop for more advanced retouching, such as applying filters to selected parts of an image. Organizing an efficient sequence of tasks Most retouching procedures follow these general steps: t Duplicating the original image or scan Working in a copy of the image file makes it easy to recover the original later if necessary.

Otherwise, the settings without risking damage to the results of one process may cause unintended changes to other aspects of the image, original image. Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes for web and mobile authoring.

To illustrate one application of retouching techniques, this lesson takes you through the steps of correcting a photograph intended for four-color print publication.

Resolution is determined by pixel dimensions, or the number of pixels Pixels in a photographic image along the width and height of an image. An image with a high resolution has more pixels and therefore a larger file size than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution ppi or higher to low resolution 72 ppi or 96 ppi. Image pixels are translated directly into monitor pixels. In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger onscreen than its specified print dimensions.

For example, when you display a 1×1-inch, ppi image on a ppi monitor, the image fills a 2×2-inch area of the screen.

Higher resolution images output to higher image size in inches, resolution printers generally produce the best quality. Mac OS. To enlarge the thumbnails in the Content panel, drag the humbnail slider at the bottom of the Bridge window to the right. In the 02Start. You’ll fix all of these problems in this lesson, starting with the color and tone of the image.

As you make changes to the image, Camera Raw saves those changes in a separate file that is associated with your original image file. You can return to the original at any time when working in Camera Raw. Adjusting the white balance changes all the colors in the image. To set an accurate white balance, select an area that should be white or gray. Selecting a white balance is a good start. You can use either the Crop tool or the Crop command to crop an image.

Both methods permanently delete all the pixels outside the crop selection area. Drag the tool to the upper-right corner of the photo, and click again. Photoshop straightens the photograph. For Width, type 3. As you drag, the marquee retains the same proportion as the dimensions you specified for the target size 3.

When you release the mouse button, a cropping shield covers the area outside the cropping selection, and the options bar displays choices about the cropping shield. If you need to adjust the size of the marquee, drag one of the corner handles. You can also use the arrow keys on the keyboard to adjust the marquee in 1-pixel increments. Replacing colors in an image Use the Color Replacement tool to paint over one color with another. When you start painting with the Color Replacement tool, it analyzes the first pixels you paint over.

In the Color Picker, select a color of green. Make sure Anti-Alias is selected. You can zoom in if needed. Using this tool, you can not only remove unwanted objects from your images, but you can also fill in missing areas in photographs you scan from damaged originals. You may want to zoom in to see the area better. When you press Alt or Option, the pointer appears as target cross-hairs.

If necessary to help make the bricks appear to blend in naturally with the rest of the image, you can adjust your cloning by resetting the sample area as you did in step 6 and recloning. Or, you can try deselecting the Aligned option and cloning again. It paints with sampled pixels from an image or pattern and matches the Brush tool works similarly to the Spot texture, lighting, transparency, and shading of the sampled pixels to the pixels being Healing Brush tool, healed.

It automatically samples from around the retouched area. Photoshop fills a selection with pixels that match the surroundings. Because the wall varies in color, texture, and lighting, it would be challenging to successfully use the Clone Stamp tool to touch up these areas. Fortunately, the content-aware fill feature make this process easy. We used the default value, 1.

If your image edge pixels and subsequently sharpened by the Unsharp Mask filter. The Unsharp Mask filter corrects blurring introduced during photographing, scanning, resampling, or printing. In addition, you can adjust the radius of the region to which each pixel is compared. If your final destination is print, experiment to deter- mine which settings work best for your image.

Saving the image for four-color printing Before you save a Photoshop file for use in a four-color publication, you must change the image to CMYK color mode. For more information about converting between color modes, see Photoshop Help. Click OK when Photoshop displays an Merge Visible before you change the color alert about the color management profile.

For more information about file formats, see Photoshop Help. You can combine Photoshop images with other elements in a layout application such as Adobe InDesign. Click Open. You can also experiment with options from the preset menu, such as Darker or Infrared.

Or, select the tool in the upper-left corner of the Adjustments panel, and then drag it across the image to adjust the colors associated with that area. We darkened the bike itself and made the background areas lighter. In Camera Raw: 1 In Bridge, select the bike. Review answers 1 he term resolution refers to the number of pixels that describe an image and establish its detail.

Image resolution and monitor resolution are measured in pixels per inch ppi. Printer, or output, resolution is measured in ink dots per inch dpi. Content-aware fill replaces a selection with content that matches the surrounding area.

You can make selections based on size, shape, and color. Freehand selections Drag the Lasso tool around an area to trace a freehand selection. Using the Polygonal Lasso tool , click to set anchor points in straight- line segments around an area. Color-based selections he Magic Wand tool selects parts of an image based on the similarity in color of adjacent pixels.

It is useful for selecting odd-shaped areas that share a specific range of colors. Move the thumbnail slider to the right if you want to see the image in more detail.

Using the Quick Selection tool he Quick Selection tool provides one of the easiest ways to make a selection. You simply paint an area of an image, and the tool automatically finds the edges. You can add or subtract areas of the selection until you have exactly the area you want.

Leave the selection active so that you can use it in the next exercise. To move the selected area to another part of the composition, you use the Move tool. Notice that the sand dollar remains selected. Unless a selection tool is active, clicking elsewhere in the image will not deselect the active area. Julieanne Kost is an official Adobe Photoshop evangelist.

The layers that are under the pointer appear in the context menu. Manipulating selections You can reposition selections as you create them, move them, and even duplicate them.

One of the best things about this section is the introduction of keyboard shortcuts that can save you time and arm motions. Repositioning a selection marquee while creating it Selecting ovals and circles can be tricky.

As you perform this exercise, be very careful to follow the directions about keeping the mouse button or specific keys pressed. If you accidentally release the mouse but- ton at the wrong time, simply start the exercise again from step 1.

If you accidentally release the mouse button, draw the selection again. In most cases—including this one—the new selection replaces the previous one.

Position it so that it more closely aligns with the bowl. If necessary, hold down the spacebar again and drag to the shape of the bowl, move the selection marquee into position around the bowl of shells. Begin dragging a selection. Press the spacebar to move it. Complete the selection. Leave the Elliptical Marquee tool and the selection active for the next exercise. Photoshop reverts to into the exact position in a minute. Moving with the arrow keys You can make minor adjustments to the position of selected pixels by using the arrow keys.

You can nudge the selection in increments of either one pixel or ten pixels. When a selection tool is active in the Tools panel, the arrow keys nudge the selec- tion border, but not the contents. When the Move tool is active, the arrow keys move the selection border and its contents. Before you begin, make sure that the bowl of shells is still selected in the image window.

Notice that each time you press the arrow key, the bowl of shells moves one pixel. When you hold down the Shift key, the selection moves ten pixels every time you press an arrow key. Sometimes the border around a selected area can distract you as you make adjust- ments. Either command hides the selection border around the bowl of shells.

 
 

Media – Adobe Illustrator CS5 Classroom in a Book [Book]

 

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To report errors, please send a note to errata peachpit. For information on getting permission for reprints and excerpts, contact permissions peachpit. Mac OS i s a trad folder inside the Lessons folder.

You will need to copy these lesson folders to your hard drive before you s te m s can begin each lesson. Made in the USA. Photoshop CS5 pushes the boundaries of digital image editing and helps you turn your dreams into designs more easily than ever before. You can follow the book from start to finish, or do only the lessons that match your interests and needs.

New exercises and lessons cover: t Using the Mixer Brush tool and bristle tip options to achieve realistic paint strokes. Photoshop Extended features include: t he ability to import 3D images and video, and to edit individual frames or image sequence files by painting, cloning, retouching, or transforming them.

Prerequisites Before you begin to use Adobe Photoshop CS5 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. You must purchase the Adobe Photoshop CS5 software separately. Photoshop and Bridge use the same installer. Follow the onscreen instructions. Make sure that your serial number is accessible before installing the application.

Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons. In case you overwrite them, you 2 Browse the contents and locate the Lessons folder. Restoring default preferences he preferences files stores information about panel and command settings.

Each time you quit Adobe Photoshop, the positions of the panels and certain command settings are recorded in the respective preferences file. Any selections you make in the Preferences dialog box are also saved in the preferences file. If you prefer to preserve your preferences, be aware that the tools, panels, and other set- tings in Photoshop CS5 may not match those described in this book.

If you have custom-calibrated your monitor, save the calibration settings before you start work on this book. To save your monitor-calibration settings, follow the simple procedure described below. To save your current color settings: 1 Start Adobe Photoshop. You do not need to perform steps 4—6 of this procedure.

To restore your color settings: 1 Start Adobe Photoshop. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.

Search results will show you not only content from Adobe, but also from the community. However, you can also download Adobe Help and language reference content for use offline. You can download the application from www. You can contribute in several ways: add comments to content or forums, including links to web content; publish your own content using Community Publishing; or contrib- ute Cookbook Recipes.

Find out how to contribute: www. Adobe Design Center: www. Adobe Developer Connection: www. Resources for educators: www. Adobe Photoshop CS5 product home page: www. Adobe certification he Adobe training and certification programs are designed to help Adobe custom- ers improve and promote their product-proficiency skills.

You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources.

For information on the Adobe Certified programs, visit www. Adobe BrowserLab is for web designers and developers who need to preview and test their web pages on multiple browsers and operating systems. Adobe CS Review is for creative professionals who want a new level of efficiency in the creative review process. Unlike collaborating via email and attend- ing time-consuming in-person meetings, Acrobat.

Adobe Story is for creative professionals, producers, and writers working on or with scripts. SiteCatalyst NetAverages is for web and mobile professionals who want to optimize their projects for wider audiences. NetAverages provides intelligence on how users are accessing the web, which helps reduce guesswork early in the creative process.

 

Adobe illustrator cs5 classroom in a book pdf free.Adobe Photoshop CS5 Classroom in a book – Adode System 2010 ddkhvl

 

Customer Reviews, including Product Star Ratings help customers adobe illustrator cs5 classroom in a book pdf free learn adobe illustrator cs5 classroom in a book pdf free about the product and decide whether it is the right product for them. Instead, our system considers things like how recent a review is and if the читать bought the item on Adobe illustrator cs5 classroom in a book pdf free.

It also analyzed reviews to verify trustworthiness. Enhance your purchase. The 15 project-based lessons in this book show readers step-by-step the key techniques for working in Illustrator CS5. Readers learn how to create vector artwork for virtually any project and across multiple media: print, websites, interactive projects, and video.

In addition to learning the key elements of the Illustrator interface, they’ll learn how to integrate their artwork with Adobe Flash movies, Adobe Ffree layouts, and Adobe Flash Catalyst software to add interaction to their designs.

This completely revised CS5 edition covers new perspective drawing tools, variable-width watercolor strokes, multiple artboards with video-specific presets, the new realistic Bristle brush and Shape Builder tool, and the ability to maintain flassroom raster effects across media. Everything you need to master the software fref included: tree 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 Illushrator Incorporated, developed with the illustratlr of Adobe product experts. Previous page. Publication date.

Print pff. See all details. Next aeobe. Frequently bought together. Total price:. To see our price, add these items to your cart. These items are shipped from and sold by different sellers. Show illustartor Hide details. Choose items to buy together. Only 1 left in stock – order soon. Get it Aug 16 – Get it as soon as Monday, Aug illustrztor Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Adobe Systems. Classroom in a Classrolm offers what no other book or training program does–an official training series from Adobe Adobe illustrator cs5 classroom in a book pdf free Incorporated, developed with the support of Adobe product experts.

The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. They work closely with the Adobe product development teams and Adobe’s Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and experienced users get up to speed quickly on Adobe software products. Don’t have a Kindle? Virtual boko for curious minds. Amazon Explore Browse now.

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Please try again later. Verified Purchase. Adobe illustrator cs5 classroom in a book pdf free book covers a lot of topics and in decent detail. As an absolute beginner this is a wonderful resource. I purchased the printed version so I could easily refer back to adobe illustrator cs5 classroom in a book pdf free in the book should I have any issues. Plus, I prefer having the book near my laptop as I read. The topics range from using artboards to 3d rendering. Each lesson tells you how long approximately it should take you for each lesson.

These were typically on target, a few I spent additional time trying out what was just taught on a few chapters. In a few instances, you will see a shaded box which is a citation from Adobe Help. It was good to know if you had issues, Adobe Help would go in more detail than the book did. It was slightly annoying too to think most of the items could be in the free Adobe help but at least the book is a nice little compilation in an easy to follow fashion.

There were a few spots I got stuck in the book but I did not reset my Illustrator preferences as they instruct at the beginning of adobe illustrator cs5 classroom in a book pdf free chapter- so be certain you do this.

Overall, I feel more confident in using Illustrator. I do suggest this book for beginners. It even goes over what is new in CS5. One person found this helpful. The Illustrator is a complicated program but this book does a good job of explaining various features through lessons.

While following the instructions in the book, I realized how difficult it is for them to describe every step precisely and clearly, in part because the book has to address both PC and Mac users and the program menus and tool cs change depending on the screen resolution of the user computer. For example, the book asks the reader to click the word Transform but some readers may not see the Transform in the described panel illustrator of their limited screen resolution.

So the book describes another way of selecting the Transform. Illusfrator addition, the Illustrator is highly customizable, so the book reminds the reader to start with the default settings, illstrator just once but over and over again.

So the book tries hard not to lose the по ссылке in the lessons by anticipating possible situations the reader illystrator face. Due to the complexity of the program, every step has to be described very clearly in order for illustratod reader to successfully complete each lesson.

Sometimes I was stuck because my result from the previous step was different from what adobe illustrator cs5 classroom in a book pdf free book expected. I thought the book missed some step or the previous источник was incomplete. After spending some time trying axobe figure out what went wrong, I just corrected the result in my way to match the book’s result.

Considering the complexity of the program and the variety of the user hardware environment, I thought the book does a good job of getting the user started with the Illustrator. I know there is still a long way for me to go but I feel that I have a good foundation to grow from thanks to the book. Not a посетить страницу источник fan of these books. Not really a fan of this book series for the adobe products.

I have all of them for my creative suite programs. I frer it hard to follow. I mean the directions were mainly easy. Sometimes they would leave out a vital step and have me trying to figure out clzssroom the heck i did wrong for a half hour. The main reason I didnt like this book is because it would tell you to do this and that but not tell you why you are doing that. I prefer instructions that tell bok why I need this or that step to get the end result.

I used the book sometimes but prefer to watch some youtube videos instead. Very complete. Obvious it was done by people that knew the software and all the different parts and pieces of it. I went through several parts of it and was so impressed I now have four other Classroom in a Book books on my bookshelf.

These books are complete and well written with a ton of examples classrooom the enclosed CD, If you are buying this book used, look for the ad that aobe the CD is included. It is very adobs. I’m going through chapter 6 right now. I was able to breeze through the first few chapters since Adobe illustrator cs5 classroom in a book pdf free familiar with Photoshop and it’s tools. The information is VERY thorough in that everything is explained well even for someone who has never worked with any Adobe products.

The only complaint I have so far is that, in the Kindle version, even zooming, some of cw5 illustrations are still too small to see very well. This is a Kindle issue, not a book issue. Hopefully in the future, the Kindle will allow you multiple zoom levels so you adohe see what is going on. This is what I used in conjunction with a college course to learn Illustrator. By the end of 15 weeks spent working through the class plus time for extra projects I feel like I know my way around Illustrator without too many problems.

My only advice – don’t necessarily start at the beginning. Adobe likes to put all their “new s in the opening chapter, and skips over the basics, so if you’re new to a program it’s a bit like being thrown in at the deep end. The later chapters actually ease you in better. I just started reading this book while completing the exercises page by page and for a beginner, it is simple to follow and in my opinion, the BEST way to learn.