The Adobe Illustrator CS Wow- P15 ppsx

On separate layers, using Photoshop brushes with various shapes, textures, opacity, and flow, she added to the drawing until she was satisfied with the end result.. Later, when he opened

Judy Stead

(Photoshop)

This personal piece, entitled Altered States,

began as a scanned marker sketch placed as a

template (see the Layers chapter) In

Illustra-tor, Judy Stead worked in RGB color mode so

she could access the Effect >Artistic filters that

are available only for RGB images Stead traced

the template using a Wacom tablet, with a 3 pt

round Calligraphic brush (Diameter set to

Pres-sure; Roundness and Angle Fixed) She applied

Effect>Artistic>Rough Pastels (choosing a

can-vas texture and varying the other options) to

give a hand-drawn appearance to the lines that

make up the facial contour Next, she blocked

in large areas of color with filled shapes drawn

with a 3 pt round Calligraphic brush, setting

the opacity to Multiply, so the underlying line

work was visible Using the Charcoal Art Brush, Stead added texture to the hair She then printed the composition (shown above right) onto newsprint drawing paper using an inkjet printer She colored specific areas of the draw- ing, such as the hair, with pastels After scan- ning the drawing into Photoshop, she applied further enhancements using a variety of Photoshop brushes, adjusting their size, flow, and blending mode With these brushes, she applied large areas of color to the background,

as well as to both sides of the face On separate layers, using Photoshop brushes with various shapes, textures, opacity, and flow, she added

to the drawing until she was satisfied with the end result.

Chapter 12 Illustrator & Other Programs 395

Timothy Donaldson

(Photoshop)

Lettering artist Timothy Donaldson takes

delight in the difficulty people have associating

his abstract calligraphy, like Ducal (above), with

artwork made with Illustrator Donaldson

cre-ated every element of the piece using default

or custom Illustrator Art brushes He drew each

object on its own layer Later, when he opened

the layered artwork in Photoshop, he selected

objects, applied blurs and drop shadows and adjusted transparency Some of these Photo- shop treatments can also be achieved using the Effect menu and the Transparency palette (See

the Transparency & Appearances and the Live

Effects & Graphic Styles chapters for more on

the Appearance and Transparency palettes and the Effect menu.)

April Greiman

(Photoshop)

April Greiman, of April Greiman Made in Space,

took advantage of Illustrator's ability to

pro-duce resolution-independent vector graphics

when creating this large wall mural for the Cafe

& Fitness Center at Amgen Greiman began

with source photos and original images In

Pho-toshop, she combined the images, adjusted the

hue, saturation, and opacity and made

adjust-ments with levels and curves A variety of filters

were applied to the images, such as Gaussian

Blur, Motion Blur, Ripple, and Noise Greiman

knew that when the image was enlarged, the

pixelated effect would enhance the image, just

as she wanted When Greiman was satisfied

with the Photoshop image, she saved it as a PSD file The PSD file was imported into Illustra- tor and text was added The text was created

on several layers with varying opacities The size of the Illustrator image was 21 inches x 5 inches, and the final mural measured 36 feet

x 11.3 feet The pixels in the Photoshop image were greatly distorted when enlarged to the final mural size This desired pixelated effect was combined with crisp text that Illustrator can produce at any magnification The final image was output from Illustrator and printed directly on vinyl.

Lance Hidy

(Photoshop)

Illustrator Lance Hidy photographed hands

holding a book several times until he had a

"natural" pose He scanned the photograph

and, in Photoshop, lightened the shadows and

other dark tones in the image before

print-ing it On this print, Hidy drew outlines of the

hands directly using a fine-tipped pen Then

he scanned the marked print and placed the

resulting TIFF file in Illustrator as a tracing

template He was able to clearly follow the

con-tours and details of the hands as he traced with Illustrator's Pencil tool.

David Pounds

(Photoshop)

David Pounds used to do much of his creative

work in Photoshop, but he can now work

almost exclusively in Illustrator, due to recent

improvements to the program In this

illustra-tion, Pounds used Photoshop to make different

versions of the photo in order to

accentu-ate various details For instance, he creaccentu-ated

a posterized version (Image >Adjustments >

Posterize) to help him see the image as areas of

color He also created a few versions using

Lev-els (Image >Adjustments > LevLev-els) to accentuate

specific details of the image He opened his

layered psd file in Illustrator, then set up layers

for tracing the photo with closed paths Using

the Pen tool, he created closed shapes and used

the Eyedropper tool, with the Shift key, to pick

up color from various layered versions of the photograph in Photoshop (the Eyedropper tool

in Illustrator now allows for greater range of color sampling options, much like Photoshop).

Whenever he wanted to create another tion of his photo in order to accentuate a miss- ing detail, he created that version in Photoshop (using Levels, for instance) He then chose Select > All, and Copy Moving back to Illustra- tor, he created a new layer for this version and used Paste in Front ( -F /Ctrl-F), which placed the new version of the photo in perfect align- ment with the previous variations of the same- sized Photoshop file.

varia-Ron Chan

(Photoshop)

Illustrator Ron Chan began this illustration for

the Catellus Web site by employing many of

the same Illustrator techniques described in

his "Cubist Constructs" lesson (in the Drawing

& Coloring chapter) After drawing and filling

objects with color, Chan brought the artwork

into Photoshop, where he selected individual

elements and added textures to lend a more organic look the illustration Similar results can be achieved using Effect menu commands, with transparency and opacity masks (see the

Transparency & Appearances and Live Effects & Graphic Styles chapters for help with effects,

the Transparency palette, and opacity masks.)

Louis Fishauf / Louis Fishauf Design Limited

(Photoshop)

For this image about e-commerce, Louis

Fish-auf brought Illustrator objects into Photoshop,

where he created transparency and blurring

effects Fishauf filled the credit card and house

front objects with white in Illustrator Then he

pasted them into the Photoshop file and built

gradation layer masks to simulate

progres-sive transparency in the objects Besides using

Illustrator-drawn objects as compositional elements in Photoshop, Fishauf also used the objects to create underlying glows (done with Photoshop's layer effects) To see how similar effects can be achieved using transparency, opacity masks, and live effects in Illustrator, see

the Transparency & Appearances and Live Effects

& Graphic Styles chapters.

Filip Yip

(Photoshop)

Filip Yip began by drawing Illustrator objects

and organizing them on many separate layers

(so each object would remain on its own layer

when he later exported them to Photoshop).

He decided on the overall color scheme,

col-ored the shapes, and added blends Yip then

exported his Illustrator objects into Photoshop

in order to add transparency, feathering, and

lighting effects The artwork (shown above

right) was exported as a Photoshop PSD file In

Photoshop, Yip was able to easily manipulate

the illustrator objects, since they were on

sepa-rate layers He enhanced the blends with the

Airbrush tool, adjusted the transparency, and applied the Add Noise filter Blurring effects (such as Gaussian Blur) were used to highlight details of the image To further soften the blends, Yip also applied the Fade Brush Tool (Edit >Fade Brush Tool >Fade > Dissolve) in the Dissolve mode.

Chris Spollen

(Photoshop)

Chris Spollen often creates his

col-lage-like illustrations by weaving

back and forth between

Illustra-tor and Photoshop He always

starts with thumbnail pencil

sketches (below right), which he

scans and places as a template

in Illustrator (see "Digitizing a

Logo" in the Layers chapter) He

then creates his basic shapes and

elements in Illustrator While

some of his illustrations do end

up being assembled in

Illustra-tor, this piece, "Hot Rod Rocket,"

was finalized in Photoshop, with

many of the objects becoming

"Illustrator/Photoshop hybrids"

(such as his white clouds on an

angle, which began as simple

Illustrator shapes) In order to

control his layers in Photoshop,

Spollen moved one or more

selected Illustrator objects at a

time into a single layer in

Pho-toshop using drag-and-drop.

Spollen then reworked the

shapes in Photoshop using the

Paintbrush and Airbrush tools.

He also adjusted the opacity The

3D-looking rocket originated as a

scanned toy "rocket gun," while

the moon began as a scanned

photo "Hot Rod Rocket" received

an Award of Merit in the Society

of Illustrator's Show.

Bryan Christie

(Photoshop, MetaTools Infini-D)

Bryan Christie assembled this mechanical bug

with Illustrator and later integrated Photoshop

and Infini-D, a 3D modeling program The 3D

shapes, such as the leg joints and circuit boards,

were first drawn in Illustrator as an outline

without detail or color, and then imported into

Infini-D and extruded into 3D shapes To map

the color and the details of the circuit boards,

Christie drew and colored the circuitry in

Illus-trator He then exported the artwork as a PICT

and mapped it onto the 3D shapes in Infini-D.

Christie created the transparency of the wing

by mapping a grayscale image that was

origi-nally drawn in Illustrator onto the wing shape

in Infini-D To complete the mechanical bug,

he rendered the artwork in Infini-D, opened

it in Photoshop to make minor touchups (such

as color correction and compositing separately rendered elements), and finally converted the entire image into CMYK.

Eliot Bergman

(Photoshop and Alias Sketch!)

Bergman created this illustration for a trade

magazine advertisement with a combination

of 2D and 3D programs He took advantage

of the precision possible with Illustrator to

draft sections, plans and profiles of objects

before importing them into Silicon Graphics

Alias Sketch!, a 3D modeling program He also

made color and bump maps in Illustrator, then

retouched them in Photoshop For this

illustra-tion, the first step was to draft the layout of

the pinball machine in Illustrator The elements

in this design served both as a template for 3D

objects and as a basis for a color map man used the Gradient tool to create the back- ground, and he used a combination of the Star tool (hidden within the Rectangle tool) and the Filter>Distort>Pucker and Bloat filter to create the starbursts Bergman imported the artwork into Sketch! where he created 3D objects by extruding and lathing individual items After rendering a rough preview image, Bergman added the final maps, colors and lights He brought the finished rendered image into Photoshop for retouching.

Berg-Tom Willcockson / Mapcraft

(Bryce)

Cartographer Tom Willcockson visited the

cam-pus of William Paterson University to acquire

photographs, building floor plans and other

materials Then in Illustrator, he built a base

map of the campus roads, rivers, vegetation

areas, building outlines and other features.

After scanning a contour map, Willcockson

drew closed contour lines, filling them with

gray shades based on elevation He exported

two JPEG images to serve as source images in

Bryce: the grayscale contour layer and the base

map artwork In Bryce, Willcockson imported

the contour JPEG and generated a 3D terrain image Then he imported the base map JPEG and draped it across the terrain He rendered the image and exported it as a JPEG, which

he placed on a template layer in Illustrator.

He traced the streets, building footprints and other features in Bryce-rendered perspective view Willcockson drew the buildings, and then added trees and shrubs as Scatter brush objects from a brush library he had created for other

maps (See the Brushes chapter to learn about

using scatter brushes for map symbols.)

Joe Jones: Art Works Studio

(Ray Dream Studio, Bryce, Photoshop)

In this World War II tribute entitled "West Field

Yardbird," Joe Jones used Illustrator artwork

as components in building the 3D model in Ray

Dream Studio, and as texture maps to cover

the model in Bryce To start the artwork that

would serve as texture maps for the metal

panel seams, window masks, rivets and other

elements of the model, Jones drew objects on

separate layers with the Pen tool Then Jones brought the artwork into Photoshop where

he applied edge treatments and simulated the effects of weathering by painting onto the art.

Then he flattened and saved the files In Bryce, Jones imported and mapped the images onto the modeled plane parts In all, he filled the scene with nearly 3000 Illustrator objects.

Erik Adigard, see M.A.D).

Adobe Systems, Inc

345 Park Avenue

San Jose, CA 95110-2704

408-536-6000

see also Laurie Szujewska,

Ted Alspach, Mordy Golding,

Min Wang, Brenda Sutherland,

Julie Meridian, Teri Pettit

Agnew Moyer Smith, Inc

Adobe Systems, Incorporated

345 Park Ave., Mailstop Wl 1

Eliot Bergman

362 West 20th StreetNew York, NY 10011

Bruce Brashear

124 Escanyo DriveSouth Sanfrancisco, CA 94080650-588-3388

brucebrashear@attbi.com

Christopher Bucheit/Design TimeP.O Box 2152

La Crosse, WI 54602608-796-0885mail@chrisbucheit.comwww.chrisbucheit.com

Christopher Burke

4408 Chad CourtAnn Arbor, MI 48103-9478313-996-1316

John BurnsJohn Burns Lettering & Design

1593 Parkway DriveRohnert Park, CA 94928

707 585-7604

Peter Cassell

1185 Design

411 High StreetPalo Alto, CA 94301650-325-4804peterc@l185design.comwww 1185design.com

David Cater510-232-9420adcater@aol.com

Ron Chan

24 Nelson Ave

Mill Valley, CA 94941415-389-6549

K Daniel Clark

3218 Steiner StreetSan Francisco, CA 94123415-922-7761

www.artdude.com

Sandee Cohen

33 Fifth Avenue, #10BNew York, NY 10003212-677-7763sandee@vectorbabe.comwww.vectorbabe.com

Scott Grouse

755 W Cummings St

Lake Alfred, FL 33850863-956-8891

Shayne DavidsonMedical Illustration & Graphics

1301 Granger Ave

Ann Arbor, MI 48104734-994-6223 / 734-998-6140extl33

sdmedill@umich.eduwww.medicalart.net

Rob Day & Virginia Evans

10 State Street, Suite 214Newburyport, MA 01950508-465-1386

Timothy DonaldsonDomus CrossheadsColwich Staffordshire ST180UGEngland

01889 88 20 43e@timothydonaldson.comwww.timothydonaldson.com

Linda Eckstein

201 W 70th St #6GNew York, NY 10023212-721-0821

Eve Elberg

60 Plaza Street East, Suite 6EBrooklyn, NY 11238718-398-0950

Mindi Englart

145 Cottage StreetNew Haven, CT 06511203-752-1959

Virginia Evans, see Day & Evans

Gary Ferster

756 Marlin Ave., Suite 4Foster City, CA 94404650-577-9696gferster@attbi.comwww.garyferster.com/

Artists Appendix

Adobe System, Incorporated

345 Park Ave., Mailstop Wl 1

Adele Droblas Greenberg

AD Design & Consulting

202 Sixth Ave Suite #2aNew York, NY 10013212-431-9132

April Greiman

620 MoultonAve No 211Los Angeles, CA 90031323-227-1222info@madeinspace.laww.madeinspace.la

Wendy GrossmanGrossman Illustration

355 West 51st StreetNew York, NY 10019212-262-4497

Brad HamannBrad Hamann Illustration &

Design

41 West Market StreetRed Hook, NY 12571845-758-6186 studiobhamann@hvc.rr.comwww.darkdesign.com

Steve HartTIME / Editorial Art Dept

1271 Sixth Avenue / Rm 2440 DNew York, NY 10020

212-522-3677

Pattie Belle Hastings, see Ice House

Press & Design

Rick Henkel, see Agnew Moyer Smith Kurt Hess, see Agnew Moyer Smith

Lance Hidy

2 Summer St

Merrimac, MA 01860978-346-0075

Kaoru Hollinkaoruhollin@attbi.com

John Hornall, see Hornall Anderson

Hornall Anderson Design Works

1008 Western Ave., Suite 600Seattle, WA 98104

206-467-5800info@hadw.comwww.hadw.com

Ice House Press & DesignPattie Belle HastingsBJ0rn Akselsen

266 West Rock Ave

New Haven, CT 06515203-389-7334

Lisa Jackmore

13603 Bluestone CourtClifton, VA 20124703-830-0985ljackmore@earthlink.net

Jared Schneidman Design

16 ParkwayKatonah, NY 10536914-232-1499

see also Guilbert Gates

Dave Job/

15 King St

Putnam, CT 06260860-928-1042

Frank JonenHaupstrasse 15

65510 IdsteinGermanyvoice 49-6126 9581 81fax 49-6126 9581 83getinfo@frankjonen.comwww.frankjonen.com

Joe JonesArt Works Studio

802 Poplar StDenver, CO 80220303-377-7745joejones@artworksstudio.comwww.artworksstudio.com

Diane Hinze Kanzler

John Kanzler

424 Adams RoadGreenfield, Ma 01301413-773-7368800-210-0711john@johnkanzler.comwww.johnkanzler.com

Andrea KelleyAndrea Kelley Design

530 Menlo Oaks DriveMenlo Park, CA 94025650-326-1083andrea@jevans.com

Artists Appendix 409