Adobe Illustrator 9: An Introduction to Digital Illustration / Edition 1

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Overview

Text Highlights

  • Cross-platform—Macintosh and Windows versions covered in one book
  • Accompanying CD includes all graphic files needed for practice exercises
  • Learning objectives provided at the beginning of each chapter
  • Icons in sidebars help identify key portions of the materials


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Product Details

  • ISBN-13: 9780130908278
  • Publisher: Prentice Hall
  • Publication date: 9/18/2000
  • Series: Against the Clock Series
  • Edition description: BK&CD-ROM
  • Edition number: 1
  • Pages: 298
  • Product dimensions: 7.76 (w) x 10.72 (h) x 0.74 (d)

Meet the Author

Every one of the Against The Clock course books was developed by a group of people working as part of a design and production team. In all cases, however, there was a primary author who assumed the bulk of the responsibility for developing the exercises, writing the copy, and organizing the illustrations and other visuals.

In the case of Adobe Illustrator: An Introduction to Digital Illustration, that author was Dean Bagley. Dean is an experienced marketing and advertising expert. One of Dean's most effective skills is the development of hands-on activities, which, as you'll see, is the foundation of the ATC series.

Dean is a professional cartoonist, well-known for his imaginative and entertaining "Baggy Gator" series of comic characters. Dean lives in Winter Haven, Florida.

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Table of Contents



Getting Started.

Platform. Naming Conventions. Key Commands. The CD-ROM and Initial Setup Considerations.



Introduction.

1. The Illustrator Environment.

The Environment. Creating and Opening Documents. Creating New Documents. Opening Documents. Saving Your Work. Adobe PDF (PDF). Illustrator EPS (EPS). Page Tiling and the Artboard. Margins. Document Orientation and Size. The Toolbox. Palettes. Menus. Contextual Menus. Preferences. General Preferences.



2. Grids and Guides.

Grids. Controlling the Grid. Rulers. Zero Point. Ruler Measurement Units. Guides. Managing Guides. Using Guides.



3. Viewing Modes.

Outline and Preview Viewing Modes. Outline. Preview. Using Views to Maximize Efficiency. Pixel Preview. Overprint Preview. New Views. Edit Views. New Windows. Creating New Windows. Navigator Palette. Navigator Features.



4. Creating Primitive Shapes.

Ellipse Tool. Using the Dialog Box. Circles. Starting Point of an Ellipse. Rectangle Tool. Drawing with the Mouse. Using the Dialog Box. Starting Point of a Rectangle. Rounding Square Edges. Changing the Corner Radius. Other Drawing Tools. Twirl Tool. Spiral Tool. Star Tool. Polygon Tool.



5. Creating Paths.

Anchor Points and Segments. Pen Tool. Open and Closed Paths. Pen Tool Symbols. Drawing Curves. Control Handle. Smooth Point. Corner Point. More Corner Point Techniques. Strategies for Making Curves. Modifying Paths. Anchor Points and Segments. Selecting Single Anchor Points. Moving Segments. Deleting Single Segments. DuplicatingPaths and Objects. Path Editing Tools. Connecting Anchor Points. Avoiding Mishaps.



6. Creating and Editing Type.

Getting Type on the Page. Creating Point Text with the Type Tool. Creating Area Text with the Type Tool. Selecting Text. Resizing a Text Container. Typographic Basics. Fonts. Font Styles. Size. Leading. Tracking. Kerning. Scaling Type. Baseline Shift. Paragraph. Alignment. Overset Text Blocks. Text Effects. Fit Headline. Working with Type Outlines.



7. Painting Objects.

Fill and Stroke. Open and Closed Paths. Strokes. Getting Creative with Dashes and Gaps. Stroke Palette. Fill. Applying Fills and Strokes from the Toolbox. Swatches Palette. Painting Objects. Painting Selected and Unselected Objects. Painting Selected Objects. Painting Unselected Objects. Color Modes. Using the Proper Color Mode. Color Palette. Spot Colors. The Color Palette Menu. Using the Swatches Palette. Creating New Color Swatches. Color Icons. Spot Colors and Tints. Importing from Swatch Libraries and Custom Colors. Swatch Libraries. Customized Colors. Styles, Effects, and Appearances. Styles Palette and Style Libraries. Styles Unlimited. Creating a Style. Editing Styles. Tips on Styles. Effect Menu. Appearance Palette. Tips on the Appearance Palette.



8. Manipulating Objects.

Object Menu. Arrange. Group/Ungroup. Lock/Unlock All. Hide Selection/Show All. Arranging with Front/Back. Precision Alignment Techniques. Manual Alignment. Aligning Anchor Points. Aligning Segments. Transform Palette. Paste in Front and Paste in Back. Duplicating Objects. Aligning and Distributing Objects. Align Palette.



Project Assignment #1.

Review #1.

9. Organizing Your Art with Layers.

Layer Basics. Organizing the Elements. Layers Palette. Layers Palette Menu. Layer Options. Layer Levels. Changing Layer Levels. Reassigning Objects on Layers. Tips on Layers. Keyboard Shortcuts. Sublayers. Nesting Sublayers. Guides and Layers.



10. Artistic Effects.

Operations. Outline Stroke. Offset Path. Slice. Simplify. Add Anchor Points. Pathfinder Palette. Creative Drawing Tools. Pencil Tool. Smooth Tool and Eraser Tool. Tips on the Smooth and Eraser Tools. Paintbrush Tool. Brush Libraries. Applying Brush Strokes to Paths. Editing Paths Containing Brush Strokes. Editing Brush Strokes. Filters. Zig Zag Filter. Pen and Ink Filter. Free Distort Filters. Roughen. Scribble and Tweak. Punk & Bloat. Trim Marks.



11. Using Gradients.

Linear and Radial Gradients. Gradient Palette. Painting Objects with Gradients. Painting Objects Using the Swatch Palette. Creating a New Gradient. Multicolored Gradients. Modifying Colors in a Gradient. Changing Angles of Gradients. Gradient Tool. Applying Radial Gradients with the Gradient Tool.



12. Transformation Tools.

Transformation Basics. Axis. Origin Point. Manual Transformation. Dialog Box. Rotate Tool. Manual Rotation. Rotating with the Dialog Box. Changing the Origin Point Manually. Reflect Tool. Scale. Manual Scaling. Transformations Using the Bounding Box. Free Transform Tool. Shear. Manual Shearing. Dialog Box. Shearing Text.



13. Working with Images.

What Can Illustrator Do with Images? Placing Graphics. Place Dialog Box. Other Image Import Methods. Drag and Drop. Cut and Paste. The Links Palette. Links Palette Menu. Link Information. Missing Links. Creating Templates. Layers Palette Menu. Placing Images. Template Tips. Placing a Vector EPS. To Link or Not to Link. Link. Placing Unlinked Vector EPS Images. Placing a Raster Image. Exporting Illustrator Documents.



14. Color Separation and Printing.

Color Separation. Composite Proofs. Deciding Who Will to Do Color Separations. Registration Marks. Preparing to Print. Macintosh. Windows. Separation Setup.



Project Assignment #2.

Review #2.

Projects.

Project A: Art Deco House (Complete after Chapter 5). Project B: BearWear Business Cards (Complete after Chapter 6). Project C: Wine and Cheese Invitation (Complete after Chapter 7). Project D: Walking the Dogs (Complete after Chapter 10). Project E: Broadway Bound (Complete after Chapter 11). Project F: Joker's Wild (Complete after Chapter 12). Project G: BearWear Label (Complete after Chapter 13).



Glossary.

Index.
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Preface

PURPOSE

The Against The Clock series has been developed specifically for those involved in the field of graphic arts.

Welcome to the world of electronic design and prepress. Many of our readers are already involved in the industry—in advertising and design companies, in prepress and imaging firms, and in the world of commercial printing and reproduction. Others are just now preparing themselves for a career somewhere in the profession.

This series of courses will provide you with the skills necessary to work in this fast-paced, exciting, and rapidly expanding business. Many people feel that they can simply purchase a computer, the appropriate software, a laser printer, and a ream of paper, and begin designing and producing high-quality printed materials. While this might suffice for a barbecue announcement or a flyer for a yard sale, the real world of four-color printing and professional communications requires a far more serious commitment.

THE SERIES

The applications presented in the Against The Clock series stand out as the programs of choice in professional graphic arts environments.

We've used a modular design for the Against The Clock series, allowing you to mix and match the drawing, imaging, and page-layout applications that exactly suit your specific needs.

Titles available in the Against The Clock series include:

Macintosh: Basic Operations
Windows: Basic Operations
Adobe Illustrator: Introduction and Advanced Digital Illustration
Macromedia FreeHand: Introduction and Advanced Digital Illustration
Adobe InDesign: Introduction andAdvanced Electronic Mechanicals
Adobe PageMaker: Introduction and Advanced Electronic Mechanicals
QuarkXPress: Introduction and Advanced Electronic Mechanicals
Microsoft Publisher: Creating Electronic Mechanicals
Microsoft PowerPoint. Presentation Graphics with Impact
Microsoft FrontPage: Designing for the Web
MetaCreations Painter: A Digital Approach to Natural Art Media
Adobe Photoshop: Introduction and Advanced Digital Images
Adobe Premiere: Digital Video Editing
Macromedia Director: Creating Powerful Multimedia
File Preparation: The Responsible Electronic Page
Preflight: An Introduction to File Analysis and Repair
TrapWise and Pressurise: Digital Trapping and Imposition

ICONS AND VISUALS

We've designed our courses to be "cross-platform." While many sites use Macintosh computers, there is an increasing number of graphic arts service providers using Intel-based systems running Windows (or WindowsNT). The books in this series are applicable to either of these systems.

All of the applications that we cover in the Against The Clock series are similar in operation and appearance whether you're working on a Macintosh or a Windows system: When a particular function does differ from machine to machine, we present both.

There are a number of standard icons that you will see in the sidebars. Each has a standard meaning. Pay close attention to the sidebar notes as you will find valuable comments that will help you throughout this course and in your everyday use of your computer. The standard icons are:

The Pencil icon indicates a comment from an experienced operator or instructor. Whenever you see the pencil icon, you'll find corresponding sidebar text that augments or builds upon the subject being discussed at the time.

The Bomb, or Pitfalls icon indicates a potential problem or difficulty. For instance, a certain technique might lead to pages that prove difficult to output. In other cases, there might be something that a program cannot easily accomplish, so we might present a workaround.

The Pointing Finger icon indicates a hands-on activity—whether a short exercise or a complete project. Note that sometimes this icon will direct you to the back of the book to complete a project.

The Key icon is used to point out that there is a keyboard equivalent to a menu or dialog-boy, option. Key commands are often faster than using the mouse to select a menu option. Experienced operators often mix the use of keyboard equivalents and menu/dialog box selections to arrive at their optimum speed.

If you are a Windows user, be sure to refer to the corresponding text or images whenever you see the Windows icon. Although there isn't a great deal of difference between using these applications on a Macintosh and using them on a Windows-based PC, there are certain instances where there's enough of a difference for us to comment.

BOOK WALK-THROUGH

  • Chapter openers provide the reader with specific objectives.
  • Project assignments allow you to use your imagination and new skills to satisfy a typical client's needs.
  • Sidebars and hands-on activities supplement concepts presented in the material.
  • Step-by-step projects result in finished artwork— with an emphasis on proper file construction methods.

THE PROJECTS YOU WILL WORK ON

Against The Clock course materials have been constructed with two primary building blocks: exercises and projects. Projects always result in a finished piece of work—digital imagery typically built from the ground up, utilizing photographic-quality images, vector artwork from illustration programs, and type elements from the library supplied on your student CD-ROM.

This course, Adobe Illustrator. Introduction to Digital Illustration, uses several step-by-step projects on which you will work during your learning sessions. (There are also open-ended project assignments immediately preceding the two reviews.) You will find images of the step-by-step projects that you will complete by the end of the course displayed on the inside front and back covers of the book. Here's a brief overview of each:

PROJECT A: ART DECO HOUSE

Effective use of paths isn't limited to creating the proper shape. Stroke weight, color, stacking order, and the way paths are joined at corners are all taken into consideration by professional artists. To achieve the look of this drawing, strokes of various weights, joined to create correct corners and intersections, are all incorporated. This design uses perspective to create the feel of a three-dimensional object. Another consideration is the limited use of tones—there are only white, black, and 30% gray shades.

PROJECT B: BEARWEAR BUSINESS CARDS

Some of the most popular and commonly-used layouts and designs rely on standard formatting of type and logo elements. In this project, grids and non-printing guides are used both to frame the individual business card and to allow the elements to be accurately duplicated for "four-up" printing. Type selection, alignment, and positioning are required to create the basic layout as well as the central logo element. Trim marks, necessary for the printer to use when cutting the individual cards, are also created and positioned.

PROJECT C: WINE AND CHEESE INVITATION

This project makes use of Illustrator's ability to "mold" type and paste it into almost any shape. This invitation is composed from several discrete elements. The shape of the glass is provided as a template, and the Pen tool is used to trace the object. Corner and smooth points are created and edited to accomplish this task. The same methods are used to create the shape representing the bouquet rising from the glass. The text element is then pasted into the object and adjusted until the fit is perfect.

PROJECT D: WALKING THE DOGS

Walking the Dog is another example of simple shapes being used to develop complex and effective illustrations. The project requires the use of a common set of techniques, including stacking and coloring. Additionally, the Paintbrush tool is used to give a more freehand feeling to the piece. Since a template is used to establish the shape and the position of the drawing's components, there are several layers—one for the template, the others for the illustration. A popular coloring technique is used for the creation of colored shapes that don't quite fit the boundaries of individual objects (the dogs, the girl's legs, and the background shape). A custom brush technique is also employed to create the hatch-mark pattern of the girl's hose. Lastly, the illustration is prepared and output as spot color separations.

PROJECT E: BROADWAY BOUND

The appearance of folded cloth presents a unique challenge to the designer and illustrator. Subtle shading and highlights must be balanced with the basic design. The Broadway Bound project incorporates the use of gradients to achieve this effect. Special attention is paid to how the gradient direction in each object interacts with contiguous paths. Notice how colors and shades seamlessly join in and beneath each fold, within the woman's shoe, and throughout the background. Only the man's wing-tips are solid black and white. Details such as the reflection on the dancer's shoe are stacked custom shapes. Additionally, the border around the dancers acts as a window on a much larger scene—another popular and effective design technique.

PROJECT F: JOKER'S WILD

The joker playing card is an excellent example of a design that takes advantage of Illustrator's stacking order and arranging techniques. The stars make use of the Star tool dialog to create specific shapes and are colored using the Color menu. This complex (and fun) drawing makes extensive use of templates, layers, creative drawing techniques, operations, and filters.

PROJECT G: BEARWEAR LABEL

Packaging is an important aspect of the graphic arts industry, and the BearWear Label project represents a simple example of this specialized application. The project starts with the use of guides to ensure accuracy—a critical issue in packaging, where cutting dies are used in the manufacturing process. All designs must fit these dies. The final cuts, which remove the corners of a basic rectangle, result in a custom shape. This shape is reduced and converted to guides to ensure compliance with the shape of the die. Simple gradients fill the top and bottom panels, and a placed TIFF file of the bear comprises the center. The BearWear logo created in an earlier project is used to identify the clothing company, and the design incorporates type on a circular path positioned over the photographic elements.

SUPPORT MATERIALS

FOR THE STUDENT

On the CD-ROM you will find a complete set of Against The Clock (ATC) fonts, as well as a collection of data files used to construct the various exercises and projects.

The ATC fonts are solely for use while you are working with the Against The Clock materials. These fonts will be used throughout both the exercises and projects.

A variety of student files have been included. These files are necessary to complete both the exercises and projects.

FOR THE INSTUCTOR

The Instructor Kit consists of an Instructor's Manual and an Instructor's CDROM. It includes various testing and presentation materials in addition to the files that come standard with the student books.

  • Overhead Presentation Materials are provided and follow along with the course. These presentations are prepared using Microsoft PowerPoint and are provided in both "native" PowerPoint format as well as Acrobat Portable Document Format (PDF).
  • Extra Projects are provided along with the data files required for completion. These projects may be used to extend the course, or may be used to test the student.
  • Finished artwork (in PDF format) for all projects that the students complete is supplied on the CD-ROM.
  • Test Questions and Answers are included on the instructor CD-ROM. These questions may be modified, reorganized, and administered through out the delivery of the course.
  • Halfway through the course is a Review of material covered to that point, with a Final Review at the end.

ACKNOWLEDGMENTS

I would like to give special thanks to the writers, illustrators, editors, and others who have worked long and hard to complete the Against The Clock series. Foremost among them are Gary Poyssick, Pamela Griffin, Jean-Claude Tremblay, and Don Poyssick, whom I thank for their long nights, early mornings, and their seemingly endless patience.

Thanks to the dedicated teaching professionals whose comments and expertise contributed to the success of these products, including Rainer Fleschner of Moraine Park Technical College, and Joanne Floydd of Mt. San Antonio College.

A special thanks to Bill Morse and Scott MacNeil for their wonderful artwork contributions.

Thanks to Toni Toomey, copy editor and final link in the chain of production, for her tremendous help in making sure we all said what we meant to say.

A big thanks to Judy Casillo, developmental editor, and Denise Brown, production editor, for their guidance, patience, and attention to detail.

Ellenn Behoriam, July 2000

Read More Show Less

Introduction

PURPOSE

The Against The Clock series has been developed specifically for those involved in the field of graphic arts.

Welcome to the world of electronic design and prepress. Many of our readers are already involved in the industry—in advertising and design companies, in prepress and imaging firms, and in the world of commercial printing and reproduction. Others are just now preparing themselves for a career somewhere in the profession.

This series of courses will provide you with the skills necessary to work in this fast-paced, exciting, and rapidly expanding business. Many people feel that they can simply purchase a computer, the appropriate software, a laser printer, and a ream of paper, and begin designing and producing high-quality printed materials. While this might suffice for a barbecue announcement or a flyer for a yard sale, the real world of four-color printing and professional communications requires a far more serious commitment.

THE SERIES

The applications presented in the Against The Clock series stand out as the programs of choice in professional graphic arts environments.

We've used a modular design for the Against The Clock series, allowing you to mix and match the drawing, imaging, and page-layout applications that exactly suit your specific needs.

Titles available in the Against The Clock series include:

Macintosh: Basic Operations
Windows: Basic Operations
Adobe Illustrator: Introduction and Advanced Digital Illustration
Macromedia FreeHand: Introduction and Advanced Digital Illustration
Adobe InDesign: Introduction and AdvancedElectronic Mechanicals
Adobe PageMaker: Introduction and Advanced Electronic Mechanicals
QuarkXPress: Introduction and Advanced Electronic Mechanicals
Microsoft Publisher: Creating Electronic Mechanicals
Microsoft PowerPoint. Presentation Graphics with Impact
Microsoft FrontPage: Designing for the Web
MetaCreations Painter: A Digital Approach to Natural Art Media
Adobe Photoshop: Introduction and Advanced Digital Images
Adobe Premiere: Digital Video Editing
Macromedia Director: Creating Powerful Multimedia
File Preparation: The Responsible Electronic Page
Preflight: An Introduction to File Analysis and Repair
TrapWise and Pressurise: Digital Trapping and Imposition

ICONS AND VISUALS

We've designed our courses to be "cross-platform." While many sites use Macintosh computers, there is an increasing number of graphic arts service providers using Intel-based systems running Windows (or WindowsNT). The books in this series are applicable to either of these systems.

All of the applications that we cover in the Against The Clock series are similar in operation and appearance whether you're working on a Macintosh or a Windows system: When a particular function does differ from machine to machine, we present both.

There are a number of standard icons that you will see in the sidebars. Each has a standard meaning. Pay close attention to the sidebar notes as you will find valuable comments that will help you throughout this course and in your everyday use of your computer. The standard icons are:

The Pencil icon indicates a comment from an experienced operator or instructor. Whenever you see the pencil icon, you'll find corresponding sidebar text that augments or builds upon the subject being discussed at the time.

The Bomb, or Pitfalls icon indicates a potential problem or difficulty. For instance, a certain technique might lead to pages that prove difficult to output. In other cases, there might be something that a program cannot easily accomplish, so we might present a workaround.

The Pointing Finger icon indicates a hands-on activity—whether a short exercise or a complete project. Note that sometimes this icon will direct you to the back of the book to complete a project.

The Key icon is used to point out that there is a keyboard equivalent to a menu or dialog-boy, option. Key commands are often faster than using the mouse to select a menu option. Experienced operators often mix the use of keyboard equivalents and menu/dialog box selections to arrive at their optimum speed.

If you are a Windows user, be sure to refer to the corresponding text or images whenever you see the Windows icon. Although there isn't a great deal of difference between using these applications on a Macintosh and using them on a Windows-based PC, there are certain instances where there's enough of a difference for us to comment.

BOOK WALK-THROUGH

  • Chapter openers provide the reader with specific objectives.
  • Project assignments allow you to use your imagination and new skills to satisfy a typical client's needs.
  • Sidebars and hands-on activities supplement concepts presented in the material.
  • Step-by-step projects result in finished artwork— with an emphasis on proper file construction methods.

THE PROJECTS YOU WILL WORK ON

Against The Clock course materials have been constructed with two primary building blocks: exercises and projects. Projects always result in a finished piece of work—digital imagery typically built from the ground up, utilizing photographic-quality images, vector artwork from illustration programs, and type elements from the library supplied on your student CD-ROM.

This course, Adobe Illustrator. Introduction to Digital Illustration, uses several step-by-step projects on which you will work during your learning sessions. (There are also open-ended project assignments immediately preceding the two reviews.) You will find images of the step-by-step projects that you will complete by the end of the course displayed on the inside front and back covers of the book. Here's a brief overview of each:

PROJECT A: ART DECO HOUSE

Effective use of paths isn't limited to creating the proper shape. Stroke weight, color, stacking order, and the way paths are joined at corners are all taken into consideration by professional artists. To achieve the look of this drawing, strokes of various weights, joined to create correct corners and intersections, are all incorporated. This design uses perspective to create the feel of a three-dimensional object. Another consideration is the limited use of tones—there are only white, black, and 30% gray shades.

PROJECT B: BEARWEAR BUSINESS CARDS

Some of the most popular and commonly-used layouts and designs rely on standard formatting of type and logo elements. In this project, grids and non-printing guides are used both to frame the individual business card and to allow the elements to be accurately duplicated for "four-up" printing. Type selection, alignment, and positioning are required to create the basic layout as well as the central logo element. Trim marks, necessary for the printer to use when cutting the individual cards, are also created and positioned.

PROJECT C: WINE AND CHEESE INVITATION

This project makes use of Illustrator's ability to "mold" type and paste it into almost any shape. This invitation is composed from several discrete elements. The shape of the glass is provided as a template, and the Pen tool is used to trace the object. Corner and smooth points are created and edited to accomplish this task. The same methods are used to create the shape representing the bouquet rising from the glass. The text element is then pasted into the object and adjusted until the fit is perfect.

PROJECT D: WALKING THE DOGS

Walking the Dog is another example of simple shapes being used to develop complex and effective illustrations. The project requires the use of a common set of techniques, including stacking and coloring. Additionally, the Paintbrush tool is used to give a more freehand feeling to the piece. Since a template is used to establish the shape and the position of the drawing's components, there are several layers—one for the template, the others for the illustration. A popular coloring technique is used for the creation of colored shapes that don't quite fit the boundaries of individual objects (the dogs, the girl's legs, and the background shape). A custom brush technique is also employed to create the hatch-mark pattern of the girl's hose. Lastly, the illustration is prepared and output as spot color separations.

PROJECT E: BROADWAY BOUND

The appearance of folded cloth presents a unique challenge to the designer and illustrator. Subtle shading and highlights must be balanced with the basic design. The Broadway Bound project incorporates the use of gradients to achieve this effect. Special attention is paid to how the gradient direction in each object interacts with contiguous paths. Notice how colors and shades seamlessly join in and beneath each fold, within the woman's shoe, and throughout the background. Only the man's wing-tips are solid black and white. Details such as the reflection on the dancer's shoe are stacked custom shapes. Additionally, the border around the dancers acts as a window on a much larger scene—another popular and effective design technique.

PROJECT F: JOKER'S WILD

The joker playing card is an excellent example of a design that takes advantage of Illustrator's stacking order and arranging techniques. The stars make use of the Star tool dialog to create specific shapes and are colored using the Color menu. This complex (and fun) drawing makes extensive use of templates, layers, creative drawing techniques, operations, and filters.

PROJECT G: BEARWEAR LABEL

Packaging is an important aspect of the graphic arts industry, and the BearWear Label project represents a simple example of this specialized application. The project starts with the use of guides to ensure accuracy—a critical issue in packaging, where cutting dies are used in the manufacturing process. All designs must fit these dies. The final cuts, which remove the corners of a basic rectangle, result in a custom shape. This shape is reduced and converted to guides to ensure compliance with the shape of the die. Simple gradients fill the top and bottom panels, and a placed TIFF file of the bear comprises the center. The BearWear logo created in an earlier project is used to identify the clothing company, and the design incorporates type on a circular path positioned over the photographic elements.

SUPPORT MATERIALS

FOR THE STUDENT

On the CD-ROM you will find a complete set of Against The Clock (ATC) fonts, as well as a collection of data files used to construct the various exercises and projects.

The ATC fonts are solely for use while you are working with the Against The Clock materials. These fonts will be used throughout both the exercises and projects.

A variety of student files have been included. These files are necessary to complete both the exercises and projects.

FOR THE INSTUCTOR

The Instructor Kit consists of an Instructor's Manual and an Instructor's CDROM. It includes various testing and presentation materials in addition to the files that come standard with the student books.

  • Overhead Presentation Materials are provided and follow along with the course. These presentations are prepared using Microsoft PowerPoint and are provided in both "native" PowerPoint format as well as Acrobat Portable Document Format (PDF).
  • Extra Projects are provided along with the data files required for completion. These projects may be used to extend the course, or may be used to test the student.
  • Finished artwork (in PDF format) for all projects that the students complete is supplied on the CD-ROM.
  • Test Questions and Answers are included on the instructor CD-ROM. These questions may be modified, reorganized, and administered through out the delivery of the course.
  • Halfway through the course is a Review of material covered to that point, with a Final Review at the end.

ACKNOWLEDGMENTS

I would like to give special thanks to the writers, illustrators, editors, and others who have worked long and hard to complete the Against The Clock series. Foremost among them are Gary Poyssick, Pamela Griffin, Jean-Claude Tremblay, and Don Poyssick, whom I thank for their long nights, early mornings, and their seemingly endless patience.

Thanks to the dedicated teaching professionals whose comments and expertise contributed to the success of these products, including Rainer Fleschner of Moraine Park Technical College, and Joanne Floydd of Mt. San Antonio College.

A special thanks to Bill Morse and Scott MacNeil for their wonderful artwork contributions.

Thanks to Toni Toomey, copy editor and final link in the chain of production, for her tremendous help in making sure we all said what we meant to say.

A big thanks to Judy Casillo, developmental editor, and Denise Brown, production editor, for their guidance, patience, and attention to detail.

Ellenn Behoriam, July 2000

Read More Show Less

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