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To create a standard website in Dreamweaver CS6, you need only name it and select the local site folder. Site names typically relate to a speciic project or client and will appear in the Files panel.

For example, many websites provide individual folders for images, PDFs, video, and so on. Dreamweaver assists in this endeavor by including an option for a Default Images folder. Later, as you insert images from other places on your computer, Dreamweaver will use this setting to automatically move the images into the site structure. Setting up a site is a crucial irst step in beginning any project in Dreamweaver. Knowing where the site root folder is located helps Dreamweaver determine link pathways and enables many site-wide options, such as Find and Replace.

Click Cancel. You will use the Welcome screen several times in this book. You can re-enable the Welcome screen in the General category of the Dreamweaver Preferences panel. Take a few moments to familiarize yourself with the design and components on the page.

Can you determine what makes this layout diferent from existing HTML 4-based designs? You will learn the diferences as you work through this lesson. You will align this element to the left later in this lesson. Observe the names and order of the tag selectors at the bottom of the document window. Elements appearing to the left are parents, or containers, of all elements to the right. As you click around the page sections, you will be able to determine the HTML structure without having to delve into the Code view window at all.

In many ways, the tag selector interface makes the job of identifying the HTML skeleton much easier, especially in complex page designs. These are some of the new semantic elements being introduced in HTML5. By using elements that are named for speciic tasks or types of content, you can streamline code construction while achieving other beneits as well. For example, as search engines, such as Google and Yahoo, are optimized for HTML5, they will be able to locate and identify speciic types of content on each page more quickly, making your site more useful and easier to browse.

Using these new elements means that you can apply complex CSS styling while reducing the complexity of the code overall. You can still use class and id attributes, but the new semantic elements reduce the need for this technique. Style display is typically on by default showing a check mark in the menu. Without the CSS styling, the navigation menu reverted back to a simple bulleted, or unordered, list with hyperlinks. Not too long ago this menu would have been built with images and complex rollover animation.

If the images failed to load, the menu usually became a jumbled, unusable mess. But navigation built on text-based lists, on the other hand, will always be usable, even without styling. Get into the habit of saving your iles on a regular basis.

It will prevent the loss of data and important changes to your iles. In the Save As dialog box, navigate to the site root folder, if necessary. Name the ile mylayout. All HTML pages created for the inal site will be saved in the site root folder.

If you start at the top of the page and work down, the irst step would be to insert the graphical banner that appears in the inal design. You could insert the banner directly into the header, but adding it as a background image has the advantage of leaving that element open for other content. It will also allow the design to be more adaptable to other applications, like cell phones and mobile devices.

Press Delete. When you delete the image placeholder, the empty header will collapse to a fraction of its former size because it has no CSS height speciication. But HTML5 is not the current web standard and some pages or components may not display properly on certain older browsers and devices. With all the caveats out of the way, the ugly truth is that even when you use standard HTML 4 code and components, older browsers and certain devices will still fail to render them properly.

Some web design- ers believe that the longer we persist in using the older code, the longer the older software and devices will hang around making our lives diicult and delaying the inevitable adoption of HTML5. These design- ers say we should abandon the older standards and force users to upgrade as soon as possible. Background images repeat both vertically and horizontally by default. Click Apply. Note that the image is slightly narrower than the container.

Before clicking OK, we need to add some inishing touches to the element. Did you notice that the butterly actually overlaps both the header and the hori- zontal navigation bar? This technique has declined dramatically in recent years as the need to support cell phones and other mobile devices has increased.

For certain applications, AP divs are still handy. An AP div will appear at the top left of the header. Note the ID apDiv1 assigned to the new div in the tag selector. A corresponding rule has been added to the CSS Styles panel. Another property to be aware of is the z-index. By default, all elements have a z-index of zero 0. On the other hand, the AP div has a z-index of 1, which means it will appear above all the other elements on the page. All the values displayed in the Property inspector are actually stored in the apDiv1 rule that was generated automatically by Dreamweaver.

Select butterly-ovr. Observe the dimensions of the image: pixels by pixels. The PNG ile type supports alpha transparency, making this 3D efect pos- sible. Unfortunately, older browsers may not support alpha transparency and other PNG features. If you use PNG iles with such efects, always test them in your target browsers to make sure the desired efects are supported.

Change the height to px. Type 30 px in the Left margin ield. An AP div acts like a free agent. Press the Right Arrow key. Type FFC in the Color ield. Select Bold from the Font-weight ield. Enter 20 px in the Right padding ield. Enter 5 px Bottom ield, remember in the Bottom padding ield. Enter the following values only in the corresponding Bottom border ields: solid, 2 px, Dreamweaver does ofer HTML 4 layouts that match the design criteria much more closely, but it was hard to resist working with an HTML5 layout and all the new semantic elements.

Besides, adjusting the layout is a lot easier than you may think. For example, the overall width has to be modiied to match the banner image.

You can use the rulers to measure the width and height of HTML elements or images. To give you more lexibility, you can set this zero point anywhere in the Design window. Drag the crosshairs to the upper-left corner of the header element in the current layout.

Note the width of the layout. Using the ruler, you can see that the layout is between and pixels wide. Observe the tag selector display to locate any elements that may control the width of the entire page; it would have to be an element that contains all the other elements.

By now you should be getting good at CSS forensics using the tag selector interface and the Code Navigator. In our example, the main content area shifted down below the sidebar. Note its width: pixels. In the Properties section of the panel, change the width to px. For this application, a thin border makes the most sense. In the Border category, if necessary select the Same For All check boxes and enter the following values for all border ields: solid, 2px, and A dark green border appears around the page edge.

Type Green News. Change Link two to read Green Products. Change Link three to read Green Events. Change Link four to read Green Travel. Type Green Tips. Observe the menu items and compare the irst four with the last.

Can you see the diference? For Green Tips to look like the other menu items, you have to add a hyperlink, or at least a similar placeholder. All the menu items are identically formatted now. In some cases, the rules listed may only afect the element in a roundabout way, as in the body rule, which afects all HTML elements on the page. Remember, more than one rule can, and probably will, format each page element.

Be careful. Sound right? In the Properties section of the panel, change the existing background color to But the black text is diicult to read against the green background color. As you see in the horizontal menu, a lighter color would be more appropriate.

You can use the Properties section of the CSS Styles panel to add, as well as edit, element properties. A new property ield appears. Type FFC in the Value ield. According to the Code Navigator, the nav ul a, nav format various default hyperlink behaviors. Inserting an image placeholder he sidebar will feature photos, captions, and short blurbs on environmental top- ics.

If it were, it would inherit any margins, padding, and other formatting applied to the paragraph, which could cause it to disrupt the layout. Type in the Height ield. Type Insert caption here. Type Insert main heading here to replace the text. Type Insert subheading here to replace the text.

Type Insert content here to replace it. Type Copyright Meridien GreenStart. Checking browser compatibility he CSS layouts included with Dreamweaver have been thoroughly tested to work lawlessly in all modern browsers.

However, during the lesson you made major modiications to the original layout. Before you use this page as your project template, you should check its compatibility. When the Report box opens, there should be no issues listed. You created a workable basic page layout for your project tem- plate and learned how to insert additional components, image placeholders, text, and headings; adjust CSS formatting; and check for browser compatibility.

In the upcoming lessons, you will work further on this ile to complete the site template, tweak the CSS formatting and set up the template structure. How did they get here? It allows you to investigate what CSS rules are formatting a selected element and how they are applied. Stored in a cascading style sheet CSS , the formatting can be quickly changed and substituted for speciic applications and devices.

Note the layout, various colors, and other formats applied to the text and page elements—all created by cascading style sheets CSS. Using the comment structure allows such applications to ignore the CSS. When you create new rules or edit existing ones, Dreamweaver makes all the changes in the code for you, saving you time and reducing the possibility of code-entry errors. P Note: The names and order of styles in your panel may vary from those pictured.

But as you can see in the CSS Styles panel above, the rule reference appears near the bottom of all the rules. In this instance, moving this rule within the style sheet will not afect how it formats the element but it will make it easier to ind if you need to edit it later. P Note: Before 6 Select the apDiv1 rule and drag it directly underneath the. It has also rewritten the code in the embedded style sheet, moving the rule to its new position.

Arranging related rules together can save time later when you need to format speciic elements or components. But be on the lookout for unintended consequences. Observe the properties and values that appear in the Property section of the panel.

Most of these settings came with the layout, although you changed the background color in the last lesson. Note that the margins and padding are set to zero. As in the body rule, this rule sets all margin and padding values to zero. Do you know why? An experienced web designer could select each rule in turn and probably igure out the reasons for each of the formats and settings.

If you are in Design view, Dreamweaver will display the document in Split view and then focus on the section of code that contains the ul, ol, dl rule. In Code view, it will jump to the appropriate lines that contain the rule. Like HTML comments, this text usually provides behind-the-scenes information that will not be displayed within the browser or afect any elements. Comments are a good way to leave handy reminders within the body of the webpage or to leave notes to yourself or others explaining why you wrote the code in a particular fashion.

It will help you ind speciic rules quickly and help remind you what you have already styled within your page. P Note: When 11 Using the CSS Styles panel, reorder the rules in the list, as necessary, so they moving rules using the match the order shown in the igure below.

CSS Styles panel, the position of comments that are not embedded may not be preserved. Working with type One of the irst basic choices any designer must make for a website is selecting the default typeface or typefaces. Some designers may use multiple typefaces for diferent purposes throughout the site. Others select a single base typeface that may match their normal corporate themes or culture. CSS gives you tremendous control over page appearance. Some call this technique degrading gracefully.

Dreamweaver CS6 ofers more than a dozen predeined font groups. You have successfully changed the basic font of the entire webpage by editing one rule. All the text on the page now displays in Trebuchet MS. Headings, paragraphs, and list elements are all sized relative to this setting.

Font size can convey the relative importance of the content on the page. Headings are typically larger than the text they introduce for that reason. Observe the tag selectors at the bottom of the document window. Identify the element that contains this caption. To reduce the text size, you could create a new compound rule to format any of those elements. Such a rule would narrowly target the styling to content contained therein and ignore the vertical menu altogether.

Many designers resort to images to add graphical lair when code-based techniques can be problematic. But large images can consume too much Internet bandwidth and make pages slow to load and respond.

In some cases, a strategically designed small image can be used to create interesting 3D shapes and efects. In this exercise, you will learn how to create a three-dimensional efect with the help of a tiny image graphic and the CSS background property.

Click the Browse button next to the Background-image ield. Observe the image dimensions and preview. Notice the lighter shade of green at the top of the graphic. Since the page is pixels wide, you know that this graphic could never ill the horizontal menu unless it were copied and pasted hundreds of times.

Some graphics, with shading, like background. CSS allows you to control the repeat to ill the entire element as necessary. Note that function and limit it to either the vertical or horizontal axis. Choose repeat-x from the Background-repeat ield menu. Creating descendant selectors he predeined style sheet declares a rule for multiple elements that will afect all h1, h2, h3, h4, h5, h6, and p tags no matter where they appear on the page.

But if you want to target a style at a speciic tag within a speciic element, it requires a descendant selector. Dreamweaver makes it easy to create such rules. Note the names and order of the tag selectors at the bottom of the document window.

As described earlier in this chapter, when creating new rules take care about where they appear in the style sheet.

Rules at the top of the sheet can pass formatting to rules appearing later using inheritance or cancel settings because of higher speciicity. Inserting a rule in the wrong place could cause the browsers to ignore it altogether. P Note: When the cursor is inserted into Because you selected the. If the Compound compound selector selector type is not displayed, choose it from the Selector Type menu.

Typically, when the cursor is inserted not displayed when the into page content, the dialog box defaults to the Compound selector type and dialog box irst appears. Whenever possible, rules should be simpliied to reduce the total amount of code that needs to be downloaded. Enter 5px in the Bottom margin ield. Note that the new rule was inserted directly after the.

Dreamweaver makes it easy to apply classes. Make sure the cursor is lashing in the element and that no text is selected. P Note: You may need to refresh the page display to see the updated tag selector. When the cursor is inserted in an existing element, Dreamweaver assumes you want to apply the class to the entire element. Choose green from the Class menu in the Property inspector.

Now remove the class. Insert the cursor anywhere in the formatted text. When the cursor is inserted in Design or Code view. Creating custom IDs he CSS id attribute is given the highest speciic weight in CSS styling because it is used to identify unique content on a webpage and therefore should trump all other styling. Right-click the selector name and choose Edit Selector from the context menu.

Note the ID displayed in the Property inspector. Note that the menu has two apparent options: apDiv1 and logo. You can demonstrate this functionality with a simple test.

You see this diference as soon as you insert an AP div into a document: Dreamweaver creates a rule for it automatically and assigns it attributes for width, height, position, and z-index, and it then displays these speciications in the Property inspector. In fact, the special treatment persists even after the rule is created.

If you change the id attribute of the AP div in the Property inspector, Dreamweaver will update the name of the rule in the CSS Styles panel at the same time. However, the reverse is not true. If you change the rule name using the style sheet as you did in this lesson , Dreamweaver does not change the ID on the element itself. The program leaves this chore up to you.

What happened to apDiv1? Additionally, as each ID stored in the style sheet is used in your layout, Dreamweaver interactively removes it from the menu to prevent you from accidentally using it a second time. Many designers create these attributes irst and then deine them later, or use them to diferentiate speciic page structures, or to create hyperlink destinations.

Some class and id attributes may never appear in the style sheets or pop-up menus. Examine the available class attributes. Note that all class attributes are available. You should now know some of the diferences between classes and IDs, as well as how to create, edit, and assign them to elements on your page.

Creating an interactive menu By combining descendant selectors, classes, and IDs, you can produce amazing behaviors from seemingly static elements. Videos, Flash animation, and JavaScript behaviors will all perform as they would on the Internet. Observe the behavior and appearance of the menu items. P Note: Rollover refers As the mouse moves over each button, the cursor icon changes to the hand back to the time when pointer, indicating that the menu items are formatted as hyperlinks.

Observe the behavior and appearance of the menu items, if any. Do not select the spaces on either making changes to your side of the word or the vertical bars, or pipes, that separate the words. If Adding a hash mark in the Link ield creates a hyperlink placeholder and desired, you can change will allow you to create and test the necessary formatting for the horizontal both the content and navigation menu without having to create an actual link.

Note that the text now styling using the Code displays the formatting of a typical text hyperlink. Be sure to select both words in each item before applying the placeholder. Watch for any undesirable side efects. The a:link pseudoclass in many cases is interchangeable with the a selector in CSS rules.

However, as you already experienced earlier, a:link is more speciic and may override speciications assigned to the less speciic a selector if both are used in the style sheet. This speciication is reset whenever the browser cache or history is deleted.

When used, the pseudoclasses must be declared in the order as listed above to be efective. Remember, whether declared in the style sheet or not, each state has a set of default formats and behaviors. When a link has been used, it usually changes color, indicating that you visited that destination earlier. However, in the vertical and horizontal menus, we do not want the links to change their appearance after you click them. To prevent or reset this behavior, you can create a compound rule that will format both states of the link at once.

Type :link to add it at the end of the selector name. Type a comma , and press the spacebar to insert a space. By combining these two selectors into one rule, you are formatting the default properties of both hyperlink states at once. Position the cursor over the hyperlink placeholders in the horizontal menu.

But these hyperlinks have none of the lair of the vertical menu, with its changing background color. As explained, that interactive behavior is controlled by the pseudoclass a:hover. Save the ile. Select the nav p a:link, state inherits much of its formatting from a nav p a:visited rule in the CSS Styles panel. In most he New CSS Rule dialog box appears with the Compound selector type cases, you only need to declare values for displayed and the text. Edit the Selector Name to say nav p a:hover, nav p a:active, and click OK.

You can create a more interesting efect by add space outside the adding a little padding to the element. Double-click the nav p a:hover, nav p a:active rule to edit it. Luckily, the solution to this problem is quite simple. Have you igured out what you need to do? It can be used to delete a rule property or the entire rule, depending on how it is invoked. Before using it, note the tooltip that appears when the cursor hovers over it.

When the mouse moves over the links, the background color extends ive pixels around the link without shifting. Do you understand why you added the padding to the default hyperlink? By adding padding to the default state, the hover state automatically inherits the extra padding and allows the background color to work as desired, without shifting the text.

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It concentrates mainly on conversational skills across a variety of everyday situations. With this course, you can expect to acquire an additional basic vocabulary of up to words including verbs, superlatives, and useful everyday vocabulary – which will enable you to hold a simple conversation in Arabic, as well as an introduction to The workspace consists of the Application bar, menus, toolbar, Properties panel, Document window, and other default panels. Vector graphics are made up of lines and curves defined by mathematical objects called vectors.

You can freely move or modify resize vector graphics without losing detail or clarity because they are resolution independent.

An example of vector artwork. Editing vector artwork. Vector graphics maintain crisp edges when they are resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application. As a result, vector graphics are the best choice for artwork, such as logos, that will be used at various sizes and in various output media. Illustrator also allows you to incorporate bitmap images—technically called raster images—that are made up of a rectangular grid of picture elements pixels.

Each pixel is assigned a specific location and color value. Pictures you take on your phone camera are considered raster images.

Raster images can be created and edited in a program like Adobe Photoshop. This is something you will do at the start of each lesson in this book to ensure that the tools function and the defaults are set exactly as described in this lesson. With Illustrator open, you will see the Home screen showing resources for Illustrator, and more. The Reset Essentials command ensures that the workspace, which includes all of the tools and panels, is set to the default settings.

This command fits the whole artboard into the Document window so you can see all of it. When Illustrator is fully launched and a file is open, the menus, Application bar, toolbar, and panels appear on the screen.

The arrangement of these elements is called a workspace. When you first start Illustrator, you see the default workspace, which you can customize for the tasks you perform.

You can create and save multiple workspaces—one for editing and another for viewing, for example—and switch between them as you work. Application bar B. Panels C. Toolbar D. Document window E. Status bar Below, the areas of the default workspace are described: A. The Application bar across the top by default contains application controls, the Workspace Switcher, and Search. On Windows, the main menu bar items appear inline with the Application bar—see the following figure.

Panels help you monitor and modify your work. Certain panels are displayed by default in the panel dock on the right side of the workspace, and you can display any panel by choosing it from the Window menu. The toolbar contains tools for creating and editing images, artwork, page elements, and more. Related tools are grouped together. The Status bar appears at the lower-left edge of the Document window.

Getting to Know the Work Area Getting to know the toolbar The toolbar on the left side of the workspace contains tools for selecting, drawing and painting, editing, and viewing, as well as the Fill and Stroke boxes, drawing modes, and screen modes.

Notice that the name Selection Tool and keyboard shortcut V are displayed in a tool tip. Press and hold until a tools menu appears, then release the mouse button. Click the Group Selection tool in the menu to select it. Any tool in the toolbar that displays a small triangle contains additional tools that can be selected in this way. Click the arrow at the right edge of the hidden tools panel to separate the tools from the toolbar as a separate floating panel of tools, so you can access them easily.

Each click selects the next hidden tool in the tool sequence. The tools return to the toolbar. In the figures in this lesson, the toolbar is a single column by default. The toolbar is now floating in the workspace. Getting to Know the Work Area 8 Drag the toolbar to the left side of the Application window using either the solid bar at the top of the toolbar or the dashed line just below the solid bar.

When the pointer reaches the left edge, a translucent blue border, called the drop zone, appears. Release the mouse button to dock the toolbar neatly into the side of the workspace. Finding more tools In Illustrator, the default set of tools that appears in the toolbar does not include every available tool.

A panel appears that shows all of the available tools. You can drag any of the remaining tools into the toolbar, where you can then select and use them. The tool is highlighted in the toolbar.

If you hover the pointer over a tool like the Ellipse tool, which is nested within the Rectangle tool, the Rectangle tool will highlight, showing you where it is. To add it to the toolbar, drag the Shaper tool onto the Rectangle tool.

The Shaper tool will now be in the toolbar until you remove it or reset the toolbar. Later in the lessons, you will add tools to learn more about them. Drag the Shaper tool onto the panel. When a minus shows next to the pointer , release the mouse to remove the Shaper tool from the toolbar.

The Properties panel displays properties for the active document when nothing is selected. It also displays appearance properties for content you select. With nothing selected in the document, the Properties panel shows the current document properties as well as program preferences. You can change the size, position, color, and much more for the selected artwork. Words that are underlined in the Properties panel will show more options when you click them.

The Properties panel once again shows document properties and program preferences when nothing is selected. Working with panels Panels like the Properties panel give you quick access to many of the tools and options that make modifying artwork easier. All of the panels available in Illustrator are listed alphabetically in the Window menu. A checkmark to the left of the panel name indicates that the panel is already open and in front of other panels in its panel group.

If you choose a panel name that is already selected in the Window menu, the panel and its group either close or collapse.

The Layers panel is grouped with two other panels—the Properties panel and the Libraries panel. They are all part of the same panel group. Getting to Know the Work Area This hides the panel names and collapses the panel dock to icons only. To open a panel that is collapsed as an icon, you can click a panel icon. Choose Align from the Window menu to open the Align panel and the other panels grouped with it by default.

Panels you open that do not appear in the default workspace are free-floating. That means they are not docked and can be moved around. You can dock freefloating panels on the right or left side of the workspace. When a blue highlight appears around the entire panel dock, release the mouse button to dock the panel in the group.

Aside from adding panels to the dock on the right, you can also remove them. Scaling the Illustrator interface When you launch Illustrator, it identifies your screen resolution and adjusts the application scale factor accordingly. You can scale the user interface of Illustrator based on your screen resolution to make the tools, text, and other UI elements easier to see.

As you make changes, like opening and closing panels and changing their position among other things , you can save that particular arrangement as a workspace—and switch between them while you work. Illustrator comes with a host of other workspaces that are tailored to a variety of tasks.

Similar to the Properties panel, it offers quick access to options, commands, and other panels relevant to the currently selected content. In workspaces, you can create groups of panels that are stacked on top of others.

That way, a lot more panels are showing. When you choose a previous workspace to switch to, it remembers any changes you made, like selecting the Libraries panel. You can also arrange the panels the way you like and save your own custom workspace. In the New Workspace dialog box, name the workspace with a new, unused name.

When a blue highlight appears around the entire panel dock, release the mouse button to dock the Artboards panel and add it to the existing panel group. Select the workspace name, and click the Delete Workspace button. The name of the workspace could be anything, as long as it makes sense to you. Using panel and context menus Most panels in Illustrator have more options available in a panel menu, found by clicking the panel menu icon or in the upper-right corner of a panel.

These additional options can be used to change the panel display, add or change panel content, and more. Click the panel menu icon in the upperright corner, and choose Small List View from the panel menu.

Because the options in the panel menu apply only to the active panel, only the Swatches panel view is affected. In addition to the panel menus, context-sensitive menus display commands relevant to the active tool, selection, or panel. Usually the commands in a context menu are available in another part of the workspace, but using a context menu can save you time. Then, right-click to show a context menu with specific options.

Adjusting the brightness of the user interface As with Adobe InDesign and Adobe Photoshop, Illustrator supports a brightness adjustment for the application user interface. This is a program-wide preference setting that allows you to choose a brightness setting from four preset levels. The magnification level, which can range from 3.

Using view commands View commands are found in the View menu and are an easy way to enlarge or reduce the view of artwork. Using the viewing tools and commands affects only the display of the artwork, not the actual size of the artwork.

Each time you choose a Zoom option, the view of the artwork is resized to the closest preset zoom level. The preset zoom levels appear in a menu in the lower-left corner of the Document window, identified by a down arrow next to a percentage.

Using the Zoom tool In addition to the View menu options, you can use the Zoom tool and reduce the view of artwork to predefined magnification levels. The artwork is displayed at a higher magnification, depending on your screen resolution. Notice that where you clicked is now in the center of the Document window.

A minus sign — appears at the center of the Zoom tool pointer. With the Option or Alt key pressed, click the artwork twice to reduce the view of the artwork. Using the Zoom tool, you can also drag in the document to zoom in and out. The Zoom tool is used frequently during the editing process to enlarge and reduce the view of artwork.

Because of this, Illustrator allows you to select the Zoom tool using the keyboard at any time without first deselecting any other tool you may be using.

The zooming is animated. Drag from right to left to zoom out. If you decide to use these shortcuts in Illustrator, you may want to turn off or change those keyboard shortcuts in macOS System Preferences. GPU-accelerated computing offers faster performance across a broad range of design, animation, and video applications.

This feature is available on compatible macOS and Windows computers. To learn more about GPU Performance, visit helpx. Panning in a document In Illustrator, you can use the Hand tool to pan to different areas of a document. Using the Hand tool allows you to push the document around much like you would a piece of paper on your desk. This can be a useful way to move around in a document with a lot of artboards or when you are zoomed in.

As you drag, the artboard and artwork on it moves with the hand. As with the Zoom tool , you can select the Hand tool with a keyboard shortcut without first deselecting the active tool. Hold down the spacebar on the keyboard to temporarily select the Hand tool, and then drag to bring the artwork back into the center of your view. Release the spacebar. Getting to Know the Work Area Viewing artwork When you open a file, it is automatically displayed in Preview mode, which shows how the artwork will print.

Illustrator offers other ways of viewing your artwork, such as outlined and rasterized. This is called Outline mode. Only the outlines of objects are displayed. You can use this view to find and select objects that might not be visible in Preview mode.

Overprinting allows the color of artwork to print on top of the color of artwork underneath. For this example, the arms of the person in the boat are made semi-transparent or seethrough when Overprint Preview is on.

Pixel preview can be used to see how the artwork will look when it is rasterized and viewed onscreen in a web browser. An arrow is pointing to it in the figure. You can use artboards to crop areas for printing or placement purposes. Multiple artboards are useful for creating a variety of things, such as multi-page PDFs, printed pages with different sizes or different elements, independent elements for websites, video storyboards, or individual items for animation in Adobe Animate or Adobe After Effects.

You can easily share content among designs, create multipage PDFs, and print multiple pages by creating more than one artboard. Illustrator allows for up to artboards within a single file depending on their size. Multiple artboards can be added when you initially create an Illustrator document, or you can add, remove, and edit artboards after the document is created.

Next, you will learn how to efficiently navigate a document that contains multiple artboards. Click Open to open the file. Notice that there are two artboards in the document that contain the front cover and inside design for a thank you card. Suppose that you want to create a four-page brochure. You can create different artboards for every page of the brochure, all with the same size and orientation.

They can be arranged horizontally or vertically or in whatever way you like. Getting to Know the Work Area 3 Select the Selection tool in the toolbar, and click to select the group of plants in the lower-right corner of the larger artboard on the right.

When you select artwork, it makes the artboard that the artwork is on the active, or selected, artboard. By choosing the Fit Artboard In Window command, the currently active artboard is fit into the Document window. The active artboard is identified in the Artboard Navigation menu in the Status bar in the lower-left corner of the Document window.

You can use these to navigate to the previous and next artboards. Those arrows plus a few others also appear in the status bar below the document. The Artboard Navigation menu and navigation arrows always appear in the Status bar below the document, but they appear in the Properties panel only when not in Artboard Editing mode, the Selection tool is selected, and nothing is selected.

Using the Artboards panel Another method for navigating multiple artboards is to use the Artboards panel. The Artboards panel lists all artboards currently in the document and allows you to navigate between artboards, rename artboards, add or delete artboards, edit artboard settings, and more.

Clicking the artboard icon or to the right of the artboard name in the panel allows you to edit artboard options. The artboard named Artboard 1 is now fit in the Document window. Zooming and panning with the Navigator panel The Navigator panel is another way to navigate a document that has one or more artboards.

This is useful when you need to see all artboards in the document in one window and to edit content in any of those artboards in a zoomed-in view.

It is in a free-floating group in the workspace. The red box in the Navigator panel, called the proxy view area, indicates the area of the document that is being shown.

When the pointer becomes a hand , drag to pan to different parts of the artwork. For the purposes of this lesson, ensure that it is toggled on. In Illustrator, all the workspace elements, like the panels, Document window, and tools, are grouped in a single, integrated window, called the Application frame, that lets you treat the application as a single unit.

When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. When you open more than one document in Illustrator, the Document windows appear as tabs at the top of the Document window. You can arrange the open documents in other ways, such as side by side, so that you can easily compare or drag items from one document to another.

Each file has its own tab at the top of the Document window. These documents are considered a group of Document windows. You can create document groups to loosely associate files while they are open. Otherwise, you could undock the Document window and create a new group. Release the mouse button to see the new tab order.

This can be useful if you use the document shortcuts to navigate to the next or previous document. Cascading allows you to cascade stack different document groups. Tiling shows multiple Document windows at one time, in various arrangements.

Do the same for the Document window on the right. With documents tiled, you can drag artwork between documents, which copies that artwork from one document to another. Click the Consolidate All button to bring the documents back together. Click the 2-Up vertical button in the Arrange Documents menu. Finding resources for using Illustrator For complete and up-to-date information about using Illustrator panels, tools, and other application features, visit the Adobe website.

Data recovery When you restart Illustrator after a program crash, you have the option of recovering work-in-progress files so that your hours of work are not wasted. Review answers 1 You can choose commands from the View menu to zoom in or out of a document or to fit it to your screen; you can also use the Zoom tool in the toolbar and click or drag over a document to enlarge or reduce the view.

In addition, you can use keyboard shortcuts to magnify or reduce the display of artwork. You can also use the Navigator panel to scroll artwork or to change its magnification without using the Document window. For example, you can press V to select the Selection tool from the keyboard.

Selected tools remain active until you click a different tool. This can be useful if you are working on multiple Illustrator files and you need to compare or share content between them. In the Save As dialog box, name the file WildlifePoster. It will help you to better understand what vector artwork is all about. Using the Selection tool The Selection tool lets you select, move, rotate, and resize objects.

This should fit the artboard on the right into the Document window. The icon that appears next to the pointer as it passes over objects indicates that there is artwork under the pointer that can be selected. When you hover over an object, that object is also outlined in a color, like blue in this instance. Smart Guides are temporary snap-to guides that help you align, edit, and transform objects or artboards.

A bounding box with eight handles appears around the selected ellipse. The bounding box can be used to make changes to content such as resizing or rotating. The bounding box also indicates that an item is selected and ready to be modified. The color of the bounding box indicates which layer the object is on. Notice that the ellipse on the left is now deselected and only the ellipse on the right is selected.

Both ellipses are now selected, and a larger bounding box surrounds them. Because both ellipses are selected, they move together. As you drag, you may notice that magenta lines appear. These are called alignment guides. As you drag, the objects align to other objects in the document. Measurement labels also appear because Smart Guides are turned on. In the dialog box that appears, click Revert. Techniques for Selecting Artwork Selecting and editing with the Direct Selection tool Anchor point As you draw, you create vector paths that are made up of anchor points and paths.

Anchor points are used to control the shape of the path and work like pins holding a wire in place. A shape you create, like a simple square, is composed of at least four anchor points on the corners with paths connecting the anchor points.

Path One way to change the shape of a path or shape is by dragging its anchor points. The Direct Selection tool lets you select anchor points or paths within an object so they can be reshaped. Click inside one of the larger green bamboo shapes to see the anchor points.

Notice that the anchor points are all filled with a blue color, which means they are all selected. Also notice the little white box next to the pointer. The small dot that appears in the center of the white box indicates that the cursor is positioned over an anchor point.

The other anchor points in the shape are now hollow filled with white , indicating that they are not selected. Notice that when you select the new point, the previous point is deselected. In the Illustrator preferences, you can adjust the size of those features. Move the pointer above and to the left of the leftmost beige ellipse and then drag across both ellipses to create a marquee that overlaps at least part of them.

Release the mouse button. When dragging with the Selection tool , you need to encompass only a small part of an object to select it. Starting off the top left of the leftmost ellipse see the first part of the following figure , drag across just the top edges of the two ellipses and then release the mouse button. Only the top anchor points become selected. Those are called direction handles, and they can be used to control the curve of the path.

Make sure you drag the square anchor point and not the round end of one of the handles. Notice that you dragged the large blue-green shape, rather than selecting the animal shapes. Locking objects prevents you from selecting and editing them.

The selected shapes are temporarily hidden so that you can more easily select other objects. The stroke of an object is the outline border , and the stroke weight is the width of the stroke.

If you know that you may need to reselect a series of objects again, like the shapes you just selected, you can save that selection. Saved selections are a great way to easily make a selection later, and they are saved only with that document.

Selecting in Outline mode By default, Adobe Illustrator displays all artwork with their paint attributes, like fill and stroke border , showing. However, you can view artwork in Outline mode to display artwork so that the appearance is removed and only outlines or paths are visible. Outline mode can be useful if you want to more easily select objects within a series of stacked objects.

If you click that X, you can select the shape. To select in Outline mode, you can click the edge of the object or drag a marquee across the shape to select it. Notice that the artwork behind the eyes the bamboo is not selected. Press the Up Arrow key several times to move both shapes up a little bit. Aligning objects Illustrator makes it easy to align or distribute multiple objects relative to each other, the artboard, or a key object.

Aligning objects to each other One type of alignment is aligning objects to each other. This can be useful if, for instance, you want to align the top edges of a series of selected shapes to each other. Notice that all of the selected objects move to align to the horizontal center of the shapes. Leave the objects selected for the next section. This can be useful when you want to align a series of objects and one of them is already in the perfect position.

You specify a key object by selecting all the objects you want to align, including the key object, and then clicking the key object again. When selected, the key object has a thick outline indicating that other objects will align to it. Leave the shapes selected for the next section. Notice that all of the selected shapes moved to align to the horizontal center of the key object.

The selected content will no longer align to the key object. Next, you will make the spacing between the green shapes even. Click the Vertical Distribute Center button in the panel that appears. Techniques for Selecting Artwork Distributing moves all of the selected shapes so that their centers are spaced an equal distance apart. Ensure that the Distribute Spacing value is 0 zero and then click the Vertical Distribute Space button.

Distribute Spacing distributes the spacing between selected objects, whereas the Distribute Objects alignments distribute the spacing between the center points of selected objects.

 
 

 

Adobe Illustrator CS6 Classroom in a Book – PDF Free Download.

 

The 15 project-based lessons in this book show readers step-by-step the key techniques for working in Illustrator CS6 and 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, this completely revised CS6 edition covers the new tracing engine with improved shape and color classroon, a new pattern toolset with onartboard controls and one-click tiling, a completely overhauled performance engine and modernized user interface for working more efficiently and intuitively, and more.

In August Adobe released an update to Illustrator offering new features for Creative Cloud customers: Package files, Unembed images and Links panel enhancements. Register your book at peachpit. The Classroom in a Book series is by far the best training material on the market. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Barbara Binder, Adobe Certified Instructor, Rocky Mountain Training Illustratoe in a Book, the best-selling series of hands-on software training workbooks, helps you learn the features of Adobe software quickly and easily.

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. It is not important along with you?

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Bolker Maura M. Mast September 6, Plan Use the credit card solicitation data to address the question of measuring change. Subtraction comes naturally. No part of this book may be reproduced or transmitted in any form or by. You are granted free resale rights of this ebook. You can also give it away to as many people as you wish.

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Images in this review. Reviews with images. See all customer images. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Oh My Gosh! Top Contributor: Fantasy Books. Verified Purchase. I bought this book and a handful of others about CS6 when I was playing at being an artist. I’ve seen some other students create wonderful illustrations in class.

Creating great art takes some skill and talent. I spend too much time reading and watching fantasy and science fiction. What happened to the work Christine Beauregard? I always looked forward to seeing her new work. Other than that I love love love the “Wow Illustrator” books including the current version. This is one series of computer “how-to” books unlike Photoshop that older versions do not go out of style.

In fact, just recently, I looked up a cool method of making circular flowers from WOW CS2 that I can’t find anywhere else including tutorials on the web.

Makes sense as some information is basic to the software and has to be presented. But each version, including this one, presents the new tools with not only instructions on how to use them but adds relevant artwork from professional in the field.

That’s why I miss Beauregards’ work. I’m sure she uses the “draw inside” tool a lot. All of my WOW illustrator books are heavily marked. If you are a beginner I suggest, as they do in the book, to get either Golding’s basic book or follow tutorials on adobe.

They finally added tools that seem we’ve been needing forever such as: “draw inside” no more clipping masks, yeah!!! These new tools have cut my workload in half. For that reason, I bought this one. I should not have! There is some new information, but not enough to warrant the purchase.

If you do not have the earlier version, than I recommend this book. I teach computer illustration in the community college and this book gave me some great ideas for exercises for the students. This is more of an idea book than a how-to book. Have been reading this series since CS2 edition. Steuer is one of the premier writers for this industry.

The book provides examples and techniques I’ve not found anywhere else. Well laid out and rich in details. Production value of the book could be better. The book cover is not glossy or even very well constructed. Also far fewer pages from earlier editions. Cost saving measures, I’m guessing, but don’t let it detract you from buying this book.

Read Steuer for her content, not for the quality of production. One person found this helpful. Its a decent book to learn from.

The exercises are lame. I teach Illustrator, so I need to have good reference books, sources for my own training. I live in an isolated area, so I’ve gotten most of my training from books. I have purchased all versions of this book way back to the beginning and gotten something new out of each one. This is powerful knowledge that really helps you to understand how to work with Illus. In addition to learning the key elements of the Illustrator interface, this completely revised CS6 edition covers the new tracing engine with improved shape and color recognition, a new pattern toolset with on-artboard controls and one-click tiling, a completely overhauled performance engine and modernized user interface for working more efficiently and intuitively, and more.

In August Adobe released an update to Illustrator offering new features for Creative Cloud customers: Package files, Unembed images and Links panel enhancements. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students. Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.

Previous page. Publication date. File size. See all details. Next page. Due to its large file size, this book may take longer to download. Fire Phones Fire Phone.

Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Sandee Adobe Creative Team. Kindle Edition. Mike Wooldridge. Peter Lourekas. Mark Kistler. About the Author The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. About the author Follow authors to get new release updates, plus improved recommendations.

Adobe Creative Team. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Read more Read less. Customer reviews.

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Verified Purchase. These books are no good without accompanying lessons, which are supposedly downloadable online. Without these video lesson files, the book is useless, because you practice on these digital files throughout the book. Unfortunately, I cannot gain access to these essential materials from the link provided in the ebooks.

The link provided in the “Illustrator” book leads to NOwhere, while the link provided in the “photoshop” book give access to only a part of the lessons. An important part of video lessons for the “Photoshop” are missing there. Then I saw other previous buyers still waiting for a solution in the Reviews Page, and this was disappointing, as these complaints were apparently penned quite a while ago.

To date, I have no solution to my problem and still waiting for a satisfactory answer. The required textbook for my graphic design class is Against the Clock Professional Portfolio series, but that book is really geared for more advanced users.

I am seriously considering dropping that course because the book is incomprehensible. However, in efforts to learn the program on my own, I purchased this. I can truly say that I am learning so much more using Classroom in a Book than the required text. It’s very step-by-step and hands on, which is great. However, I wish there were instruction explaining the “why” behind things; at times it feels a bit robotic. I also wish there were videos that supplement the lessons, but it is a goldmine compared Against the Clock.

I do, however, like the fact that it is very step by step, with lots of illustrations, so I know exactly what to do and how to do it. This tutorial will show you how to insert the Embroidery CD into your computer and transfer the designs onto your USB stick. If your embroidery machine uses a different method card reader or direct connect. Previously, his law practice was based in Florida.

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