© The Author(s), under exclusive license to APress Media, LLC, part of Springer Nature 2022
J. HarderPerspective Warps and Distorts with Adobe Tools: Volume 2https://doi.org/10.1007/978-1-4842-8829-0_2

2. Pen and Shape Tools Review

Jennifer Harder1  
(1)
Delta, BC, Canada
 

Chapter Goal: Review how basic shapes are created with the Pen and Shape tools and how they can be distorted with the Direct Selection tool or scaled or rounded using bounding box handles and guides.

In this chapter, we are going to review the basic Pen and Shape tools that can be used for drawing and tracing over an illustration or guides. We will also be looking at Selection tools and a few panels that can assist us as we use the Pen and Shape tools to create basic warps and distorts. Refer to Figure 2-1.
Figure 2-1

Toolbars panels for Pen tools, Shape tools, and Selection tools

Note

You can find the projects for this chapter in the Chapter 2 folder.

Let’s start with a review of the Pen tools.

Note

In this chapter and the rest of the book, when I refer to shapes and paths collectively, I will use the word “object.”

Pen Tools and Curvature Tool

If you are familiar with Photoshop, then you will have worked with the Pen tool and its assisting tools—Add Anchor Point tool, Delete Anchor Point tool, and Convert Point tool—for shape and path creation for vector shapes and paths on layers. Refer to Figure 2-2.
Figure 2-2

Some of Photoshop’s Pen tools

While these Photoshop tools are not required for this book, it’s good to know that their paths operate in the same way as you would create vector paths in Illustrator. However, the Convert Point tool is here called the Anchor Point tool, but it basically operates the same way, as we will see shortly. Refer to Figure 2-3.
Figure 2-3

Pen tools in Illustrator

Pen Tool (P) Review

To start our review of the tools, open your file that you started in Chapter 1 if you want to practice, or create a new blank document using the steps mentioned in Chapter 1. You could also open the file pen_shape_practice.ai, which is an empty document, to practice with; it’s located in the Chapter 2 folder.

In this case, I have enabled View ➤ Rulers ➤ Show Rulers (Ctrl/CMD+R) and set the measurement increments to inches by right-clicking on the top ruler. Your document’s rulers will be set to inches already if you set this increment when you created a new file. Refer to Figure 2-4.
Figure 2-4

Setting the ruler measurement increments to inches for the Artboard and enabling the Smart Guides in the view menu

I also have my Smart Guides enabled. Go to View ➤ Smart Guides (Ctrl/CMD+U). Refer to Figure 2-4.

In the Layers panel, you are working on Layer 1, and you can practice creating the following paths. Refer to Figure 2-5.
Figure 2-5

Layers panel with Layer 1 selected

Select the Pen tool from the Toolbars panel. The Pen tool relies on what the current path and fill color are in the Toolbars panel. Press D on your keyboard if you want the same default colors of white fill and black stroke. Refer to Figure 2-6.
Figure 2-6

Pen tool with fill set to default white and stroke to black

With the Pen tool, you can click a point. Before you click you will see an asterisk by the pen icon. Then click another point somewhere on the Artboard to create a path. Each end of the path has an anchor point. Refer to Figure 2-7.
Figure 2-7

Use the Pen tool to create a path

If you want the path to be straight vertical, horizontal, or at a 45° angle, then hold down the Shift key on the next click. Refer to Figure 2-8.
Figure 2-8

Use the Pen tool with the Shift key to create a straight path

Click another point in your path if you want to continue with straight sides. Refer to Figure 2-9.
Figure 2-9

Use the Pen tool to create more points on the path

Or, if you want a curved side, then as you create the next point hold down the mouse button and click and drag in a direction, revealing your anchor point’s handles. Refer to Figure 2-10.
Figure 2-10

Use the Pen tool to create a path with a curve

Release the mouse button to move the Pen tool to a new location and click to create the next anchor point. Refer to Figure 2-11.
Figure 2-11

Use the Pen tool to add more points to the path after creating a curve

Or click and drag to continue to round the next curve. Refer to Figure 2-12.
Figure 2-12

Use the Pen tool to add more points to the path after creating a curve, and curve again

Or, if you want to return to a straight edge after the curve on point 3, release the mouse button and then right away hold down the Alt/Option key and click on the same point again. Notice that the Pen tool icon will change to having an angled path beside it. Then, when you click to create Point 4, the path is now straight. Refer to Figure 2-13.
Figure 2-13

Use the Pen tool to change a curved line back to a straight corner with Alt/Option + Click, or curve the line on the next click and drag

Or you can click and drag for point 4 to create a curve again. Refer to Figure 2-13.

To close a path, click on the original point 1. To verify that it is joined correctly, hover over the point with your mouse, and you should see the Pen tool icon add a zero or O icon next to it. Then, click to close the path. Refer to Figure 2-14.
Figure 2-14

Close the path as either a straight or a curved path with the Pen tool

Or click and drag to close the path with a curve. Then, release the mouse button, and you should have a closed path. Refer to Figure 2-14.

Tip

Adding the Shift key while you click and drag can also assist in your path adjustment.

If, while using the Pen tool, you want to keep the path open and deselect the path to create a new one, then on the last point you click hold down the Ctrl/CMD key. This changes the Pen tool temporarily to the Direct Selection tool. Click elsewhere on the Artboard, and this will allow you to deselect the path and keep it open. Refer to Figure 2-15.
Figure 2-15

Leave the path open using the Pen tool when you Ctrl/CMD + Click

Join Points on an Open Path

With the Pen tool you can click on an open anchor point, and the pen icon will add a line to it. Then, click on that point 1 that is part of the open path and drag out a new line and then on the point 2 you want to connect to and close the path when you see the O near the pen you know you have joined the paths or closed object. Refer to Figure 2-16.
Figure 2-16

Join two points for a closed path or connect two open paths with the Pen tool

Or if you are joining two open paths but not closing a path, you will see a pen cursor icon connection point between the two points. Refer to Figure 2-16.

Tip

Use the Zoom key commands (Ctrl/CMD ++ and Ctrl/CMD+ -) and Hand tool (spacebar) when you need to navigate while using the Pen tool so you don’t deselect the path while you work.

Add Anchor Point Tool (+) Review

Likewise, as in Photoshop, with Illustrator points can be added to a path with the Add Anchor Point tool. This is useful when you need to edit or correct part of the path. Refer to Figure 2-17.
Figure 2-17

Toolbars panel Add Anchor Point tool

Once your path is complete, use this tool to click somewhere on the path if you need to add a new anchor point. Refer to Figure 2-18.
Figure 2-18

Add a point with the Add Anchor Point tool

Note

If you do not want to switch tools, you can also use the Pen tool and hover over part of a selected path with the pen cursor until a plus symbol is added, then just click to add a point. We will look at how to select paths in the next section.

If you click on a point and not a path, you may get the following warning message. In this case, click OK and use the Zoom tool if you need to get closer to the path, before using the Add Anchor Point tool. Refer to Figure 2-19.
Figure 2-19

When you click on another point with the Add Anchor Point tool, you will get a warning message to add the point to a segment of a path

Delete Anchor Point Tool (-) Review

To remove points from a path, use the Delete Anchor Point tool. Click on a selected point. Note that in doing so you may alter the path, and then you may need to move the handles later with the Direct Selection tool, or add another anchor point elsewhere to make adjustments. Refer to Figure 2-20.
Figure 2-20

Toolbars panel Delete Anchor Point tool. Click on a point to delete the point

Note

If you do not want to switch tools you can also use the Pen tool and hover over a selected point with the pen cursor until a minus symbol is added, then just click to remove the point. We will look at how to select paths in the next section.

Tip

Hold down the Alt/Option key when you want to switch between the Add Anchor Point tool and Delete Anchor Point tool while either tool is in use.

If you don’t click directly on a point, you may get the following warning message. In this case, click OK and use the Zoom tool if you need to get closer to the point before using the Delete Anchor Point tool. Refer to Figure 2-21.
Figure 2-21

When you click on a path with the Delete Anchor Point tool, you will get a warning message to use the tool on an anchor point of a path

Anchor Point Tool (Shift +C) Review

The Anchor Point tool is used to convert points from straight to curved or a combination of both. This is useful after you have created a closed path and need to edit and correct the path. Refer to Figure 2-22.
Figure 2-22

Toolbars panel, Anchor Point tool

Click on a straight point with the Anchor Point tool and drag to curve the path. Refer to Figure 2-23.
Figure 2-23

Convert a point from corner to curved with the Anchor Point tool

Or click on a curved path to cause it to become straight on both sides. Refer to Figure 2-24.
Figure 2-24

Convert a point from curved to corner with the Anchor Point tool

For a combination of straight and curved sides, after you click and drag out your curve with the Anchor Point tool, click on one of the handles to straighten that part of the path. Refer to Figure 2-25.
Figure 2-25

Create a point that is both curved and corner with the Anchor Point tool

Or click and drag on the handle to cause the path to remain curved but in a different direction. Refer to Figure 2-26.
Figure 2-26

Create a point that changes the path’s direction with the Anchor Point tool

You can also use the tool to click and drag on the path itself if you need to scale part of the path. Refer to Figure 2-27.
Figure 2-27

Adjust the path with the Anchor Point tool

Tip

The Anchor Point tool is good for untangling twisted points as well that you may have created while using the Pen tool. Click and drag in the opposite direction to untangle. Refer to Figure 2-28.

Figure 2-28

Untangle a path with the Anchor Point tool

Remember you can always go back to Photoshop and apply what you learned here about the Pen tool to your own Photoshop projects.

Hold down the Alt/Option key when you want to switch between the Pen tool and the Anchor Point tool.

You can review my notes in the file pen_practice_diagram.ai.

Curvature Tool (Shift +~) Review

Next to the Pen tool in the Toolbars panel you will find a similar tool known as the Curvature tool. Refer to Figure 2-29.
Figure 2-29

Toolbars panel, Curvature tool

While I will not be going into any detail on this in this book, as it not part of the later project, I will note a few tips about the tool you can use on your own.
  1. 1.

    It is like the Photoshop Curvature Pen tool. Refer to Figure 2-30.

     
Figure 2-30

Photoshop’s Curvature Pen tool

  1. 2.

    The Curvature tool can be used to create a curved path as you click and drag and observe the rubber-band preview of the path. Refer to Figure 2-31.

     
Figure 2-31

Creating a path with the Curvature tool, and the preview of the path

  1. 3.

    You can close the path when you click on the original point. Refer to Figure 2-32.

     
Figure 2-32

Closing the path with the Curvature tool

  1. 4.

    Once the path is closed, you can select points on the path if you need to move them to scale the path.

     
  2. 5.

    You can also add points to the selected path by clicking on a part of the path. Refer to Figure 2-33.

     
Figure 2-33

Adding points to the path with the Curvature tool

  1. 6.

    As with the Pen tool, you can hold down the Ctrl/CMD key to release on the next click on the artboard and keep the path open.

     
  2. 7.

    You can also use the Shift key while clicking to keep the anchor points level.

     
  3. 8.

    Hold down the Alt/Option key or double-click as you click to create a straight part of the path. Refer to Figure 2-34.

     
Figure 2-34

Creating straight paths and corner points with the Curvature tool

  1. 9.

    While a point is selected, press the Backspace/Delete key to remove the point but not the path. Refer to Figure 2-35.

     
Figure 2-35

Deleting points from the path with the Curvature tool

  1. 10.

    Once that path is complete, Double-click on a point when you want to make it cornered or curved. Refer to Figure 2-36.

     
Figure 2-36

Change the point of a path from corner to smooth and curved by double-clicking with the Curvature tool

Likewise, you can switch to the Pen tool at any time to complete or edit the path. You can refer to my file curve_practice_diagram.ai.

Swapping Fill and Stroke Colors with the Pen Tool

Paths or shapes, as mentioned, will often have a stroke or a fill that is applied when the selected path is being drawn with the Pen tool. You can see the current colors in the Toolbars panel. Refer to Figure 2-37.
Figure 2-37

Swapping the fill and stroke for an open path using the Toolbars panel while the path is selected

While drawing, you can switch or swap the stroke and fill colors by pressing Shift + X.

In other situations, while you are using the Pen tool or before you start you may want to set the fill to none. I find this is best when tracing over a placed graphic image on a locked layer or a template layer, as you will see later in the project. Refer to Figure 2-38 and Figure 2-39.
Figure 2-38

Creating a template layer to trace over for practice

Figure 2-39

Setting the fill to none while using the Pen tool for tracing

While using the Pen tool you can easily click on the Toolbars panel and switch the fill to none. Do so by clicking on the square with the red slash through it while the fill is in front of the stroke. Refer to Figure 2-39.

This will make it easier to trace over the template or underlying graphic.

Note

Besides having a path with no fill, you can also eliminate the stroke while tracing over another path by setting the color to none as well, though doing so makes it difficult to locate the path afterward. Paths with no fill or stroke are used for the purpose of text on a path, clipping masks, or envelope meshes to partly cover a path or a shape. We will see examples of these kinds of hidden paths in Chapters 9 and 10.

If you are interested in reviewing some of the other ways that I trace over images for the start of logo creation, check out the books mentioned in the Introduction.

Selection, Direct Selection, and Group Selection Tools

Once you have created multiple paths, you want to be able to select, move, scale, or deselect all or part of the path. In the Toolbars panel you can find three tools to assist you with this. They are the Selection tool, the Direct Selection tool, and the Group Selection tool. Refer to Figure 2-40.
Figure 2-40

Toolbars panel: Selection tool, Direct Selection tool, and Group Selection tool

Selection Tool (V)

Like the Move tool and Path Selection tool in Photoshop, the Selection tool in Illustrator is used to help move and scale an entire selected path. Refer to Figure 2-41.
Figure 2-41

Use the Selection tool to move, scale, and rotate a path

Using the bounding box handles, you can move, scale, and rotate the entire path. Refer to Figure 2-42.
Figure 2-42

The path is being scaled and then rotated using the bounding box handles

If you want to copy a path, rather than using Edit ➤ Copy and Edit ➤ Paste, you can select the path with the Selection tool and Alt/Option-drag it to create a copy. Holding down the Shift key while dragging places the copy on the same horizontal or vertical plane. Refer to Figure 2-43.
Figure 2-43

Using the Selection tool, the path is copied when the Alt/Option key is held down while the path is dragged

Or, if you want to delete the selected shape, press the Backspace/Delete key on your keyboard.

Once you have created one or more objects you can Shift + Click them one at a time so you can move them or scale them together. Refer to Figure 2-44.
Figure 2-44

Use the Selection tool to Shift + Click multiple shapes, or drag a marquee around the shapes to select them at the same time

Shift + Click on a selected path to deselect it.

Another way to select is to, with the Selection tool, drag a rectangular marquee around the paths. Refer to Figure 2-44.

Note

You can also use the Select menu to select objects, such as Select ➤ All to select all objects on a layer or Select ➤ Inverse if you want to deselect currently selected items and select those currently deselected. Additional selection options from the Select menu include All, All on Active Artboard, Deselect, and Reselect. Refer to Figure 2-45.

Figure 2-45

Use the Select menu to select or deselect multiple shapes or objects

To deselect all paths, click off the Artboard, or go to Select ➤ Deselect.

While the path is selected you can use the Control panel or Properties panel to adjust the various object settings.

Control Panel Options for Paths

The following Control panel options affect the path. Refer to Figure 2-46.
Figure 2-46

Use the Control panel to adjust options on the path

Fill Color: Using the dropdown menu, select a color. These colors can also be accessed from the Swatches panel. Holding down the Shift key while clicking on the fill menu will allow you to access colors from the Color panel instead and use the sliders or Eyedropper tool. Refer to Figure 2-47.
Figure 2-47

Control panel path options for fill color

Stroke Color: Using the dropdown menu, select a color. These colors can also be accessed from the Swatches panel. Holding down the Shift key while clicking in the stroke menu will allow you to access colors from the Color panel instead. Refer to Figure 2-47 and Figure 2-48.
Figure 2-48

Control panel path options for setting stroke color while path is selected

Stroke Weight: Clicking on the name allows you to access the Stroke panel and its various stroke options, or just use the Control panel dropdown Stroke Weight menu to adjust only the weight. We will review this area in Chapter 5. Refer to Figure 2-49.
Figure 2-49

Control panel path options for setting Stroke and Stroke Weight for a selected path

Stroke Variable Width Profile: Can be set either from the Stroke panel or from the Control panel. By default, it is set to Uniform. We will look at how to create a custom variable width in Chapter 5. Refer to Figure 2-50.
Figure 2-50

Control panel path options for setting variable-width profile while path is selected

Brush Definition: Allows you to set a brush for the stroke. Using the Brushes panel, we will look at some brush options later in this chapter as well as in Chapters 5 and 8, and see how they relate to opacity and transparency. By default, it is set to Basic as you work with the Pen tool unless you have set some different definition before you started or while the path is selected. Refer to Figure 2-51.
Figure 2-51

Control panel path options menu for setting brush definition while path is selected

Opacity (0%–100%): Controls the stroke and fill opacity. The name links to the Transparency panel, which we will look at in Chapter 8. Refer to Figure 2-52.
Figure 2-52

Control panel path options and slider for setting opacity while path is selected

Style: From this dropdown menu you can access options from the Graphic Styles panel. These are similar to Photoshop Layer Styles. By default, it is set to “Default Graphic Style”; we will explore this area more in Chapter 11. Refer to Figure 2-53.
Figure 2-53

Control panel path options for setting a graphic style while path is selected; currently no graphic style is chosen

Recolor Artwork: Allows you to further alter the color of your current paths. While this topic is not relevant to our discussion on warps and distorts, you can learn more about this topic from the following link and discover how to alter the current colors in your paths. Refer to Figure 2-54.
https://helpx.adobe.com/illustrator/using/recolor-artwork.html
Figure 2-54

Control panel path options for recoloring artwork while path is selected

Figure 2-55

Control panel path options for setting alignment while paths are selected

Align: As in Photoshop with selected layers, when you have two or more paths selected with the Selection tool, you can align them by Selection, Key Object, or Artboard by their Horizontal Align (Left, Center, or Right) and Vertical Align (Top, Center, or Bottom). With three or more, the setting is for Vertical Distribute (Top, Center, Bottom) and Horizontal Distribute (Left, Center, Right). These same settings can also be accessed from the Align panel. I will review the Align panel near the end of this chapter before we look at the project. Refer to Figure 2-55.

When a selected object (path or shape) is moved or scaled using the Control panel, you can first set the reference point. By default, I leave it as the center mark. You can then type in or use the up and down arrows in the text box to move the shape based on the X and Y coordinates. This is easy to see in inches, as you set this earlier when you created the document.

You can also adjust the settings for the width (W) and height (H) using the up and down arrow keys in the text boxes. Selecting the link icon constrains width and height proportions for the selected shape so it scales both width and height at the same time. But if the link icon is not selected then you can scale just the width or just the height separately. These and additional settings can also be accessed from the Transform panel if you click on the X and Y coordinates letters. Refer to Figure 2-56.
Figure 2-56

Control panel path options for setting X and Y coordinates and width and height while path is selected

Isolate Selected Object: This button puts the path or shape into Isolation mode so that you can edit it separately from other paths. Likewise, you can enter Isolation mode by double-clicking on a path. This grays out surrounding paths. Refer to Figure 2-57.
Figure 2-57

Control panel path options for setting the path into Isolation mode while path is selected

To exit Isolation mode, click on the back arrow twice just below the rulers on the left. This returns you to Normal mode, or in this case Layer 2. The path then becomes deselected. Select the path again with the Selection tool. We will see similar isolation for editing being used in Chapter 7 for patterns and Chapter 6 for symbols. Refer to Figure 2-57.

The last area, while not part of the topic of this chapter, is for the following:

Select Similar Objects and Options: Select objects based on All or specifics such as Fill Color, Stroke Color, Stroke Weight, Opacity, or Appearance. Refer to Figure 2-58.
Figure 2-58

Control panel path options for selecting similar objects while the current path is selected

Start Editing Similar Shapes Together and Global Edit Options: This is useful if you need to do a global edit on multiple artboards. In this case, we are only working on one. Refer to Figure 2-59.
Figure 2-59

Control panel path options for global edits while a path is selected

On the far right are three icons for Align Selected Art to Pixel Grid, Align Art to Pixel Grid on Creation, and Transformation, third is what is displayed in the Control panel menu when an object is selected or active. I will leave these areas at their default settings with all options active and docked to the top. Refer to Figure 2-60.
Figure 2-60

Additional Alignment and Control panel options found in the Control panel menu

While working in the Control panel, note that you have similar options available in the Properties panel, categorized under Transform, Appearance, and Align. Additional options related to those panels can be found under the ellipses. Refer to Figure 2-61.
Figure 2-61

Properties panel with similar settings as the Control panel

Direct Selection Tool (A)

The Direct Selection tool, as in Photoshop, is meant for selecting individual points on a path. This is useful when you want to move or alter single or select points. When curved points are selected, you can drag on the handles or the path itself to adjust the path. Refer to Figure 2-62.
Figure 2-62

Direct Selection tool selects an anchor point on a path, and you can drag on a point to move it or a handle

You can move the selected anchor point with the tool. You can Shift + Click multiple anchor points to move them in unison, or Shift + Click to deselect certain points.

When you click on an anchor point and press the Backspace/Delete key, it will delete the path and cause it to be open. Refer to Figure 2-63.
Figure 2-63

Deleting a selected point on a path with the Direct Selection tool makes it an open path

Press the Backspace/Delete key again to delete the whole shape. Use Edit ➤ Undo (Ctrl/CMD+Z) a few times, or use the History panel if you need to undo those last steps. Refer to the end of Chapter 1 if you need to review this panel.

Control Panel Options for Anchor Points

When you select a point on a path, the Control panel changes to reflect that selection. I will just point out the key differences here. Refer to Figure 2-64.
Figure 2-64

Control panel options for a single selected anchor point

Convert: Allows you to convert selected anchor points to corner or to smooth. Refer to Figure 2-65.
Figure 2-65

Control panel Convert options

Handles: Allows you to show handles or hide handles for multiple selected anchor points. In this example, it is set to hide. Refer to Figure 2-66.
Figure 2-66

Control panel handles options

Anchors: Allows for options to alter selected points, such as Remove selected anchor points, which removes the point without making it an open path, just like the Delete Anchor Point tool does. Use Connect selected endpoints when a path is open and you want to join two points that have first been Shift + Clicked. Use Cut path at selected points to cut off or remove part of path and make it separate; this will create two open paths. Refer to Figure 2-67.
Figure 2-67

Control panel anchor point options and the effects of the three (remove, connect, and cut) on a path

Corners: Click on the word to reveal:

  • Various corner options, such as Round, Inverted Round, or Chamfer.

  • Radius: This is the same settings as the text box next to the word “Corners” outside of the dropdown menu.

  • Rounding: Can be set to Relative or Absolute. You can also adjust the rounding and the radius by dragging on the live corner widgets, as you will see with various shape tools in the next section of this chapter. Refer to Figure 2-68.

Figure 2-68

Control panel anchor point options and their effects on a point on the path

Rounding is more apparent when the radius is set higher.

Align: Settings are the same as when using the Selection tool, but this time they affect only the points selected. You can then align them using the same settings. Refer to Figure 2-69.
Figure 2-69

Control panel anchor point options for alignment of selected points on a path

When a single anchor point reference is selected, you can only set the coordinates for X and Y and not the width (W) and height (H), as a point cannot be scaled, only moved. Refer to Figure 2-70.
Figure 2-70

Control panel anchor point options for X and Y coordinates for a single point on a path

Only when two or more points are selected can the width, height, and link to constrain width and height proportions be set. Refer to Figure 2-71.
Figure 2-71

Control panel anchor point options for X and Y coordinates and the width and height values (usable when you Shift + Click multiple points on a path with the Direct Selection tool)

Note

Settings for Isolate Selected Object and Start Editing Similar Shapes Together options are the same as with the Selection tool. Refer to Figure 2-71.

Options for an anchor point similar to those in the Control panel can also be found in the Properties panel. Refer to Figure 2-72.
Figure 2-72

Properties panel for a single anchor point selected with the Direct Selection tool

To deselect a point and the whole object, click outside the Artboard or off the object.

Group Selection Tool

The Group Selection tool is used to select parts of or all grouped paths or objects. Refer to Figure 2-73.
Figure 2-73

Toolbars panel Group Selection tool

When you have Shift + Clicked more than two objects with the Selection tool, you can group them so that they move together as one unit. From the menu use Object ➤ Group (Ctrl/CMD+G). Refer to Figure 2-74.
Figure 2-74

Select two paths with the Selection tool and use the Object menu to turn it into a group

To ungroup paths, while they are selected, choose Object ➤ Ungroup (Shift+Ctrl/CMD+G).

Group objects can then be moved as one unit using the Selection tool, or as a single point using the Direct Selection tool. However, to select separate selections of objects within the group use the Group Selection tool. In this example, by clicking once on a path to select a single path and then clicking on the same path again, you can select both paths. You can then move them in unison. Refer to Figure 2-73 and Figure 2-75.
Figure 2-75

Use the Group Selection tool to select a single path within a group and drag to move

Note

With one path selected with the Group Selection tool, you could return to the Selection tool and edit only that path using the Control panel. Refer to Figure 2-76.

Figure 2-76

Once a path is selected with the Group Selection tool, you can switch to the Selection tool and use the Control panel to modify the path’s fill, stroke, and stroke weight

For the Group Selection tool, the Control panel remains the same as when using the Selection tool, except that it says Group, which describes the current selection. This is the same for the Properties panel. Refer to Figure 2-77.
Figure 2-77

The Properties panel will have the caption of group while the group is selected

However, when the colors—for example, of the stroke and the fill—are different for two items in a group, or one path’s weight is different than the other’s, this will show up in the Toolbars, Control, and Properties panels as a question mark or blank area, indicating more than one choice has been made. Refer to Figure 2-78.
Figure 2-78

When paths are different within a group, in the Toolbars, Control, and Properties panels certain boxes may appear with a [?] or appear blank

To make both shapes uniform while they are selected with either the Selection tool or the Group Selection tool, select a common color for the fill and stroke, and common number for the stroke weight, from the dropdown menus in the Control panel. Refer to Figure 2-79.
Figure 2-79

Use the Control panel to reset both paths to a common fill color, stroke color, and stroke weight

Tip

You can also use the Group Selection tool to move a path without the bounding box handles. Shift + Click each path when you want to select certain paths. Click outside the Artboard or off the object to deselect.

Adjusting Scale of Paths

After creating open and closed paths, with my Selection Tool active to prevent your strokes from scaling if you resize your image, in the Properties panel, while no path or a current path is selected, go to the Document Preferences or Transform section and under the ellipses uncheck the option of Scale Strokes and Effects. I will do this so that when I scale down my paths and shapes the stroke does not become too small and difficult to see. This area is the same as in the Transform panel. Refer to Figure 2-80.
Figure 2-80

Use the Properties panel to remove the Scale Strokes and Effects settings so that your stroke does not become too small when the path is scaled down. Similar settings are found in the Transform panel

Additional Properties Panel and Transform Panel Options

Using either the Properties panel or the Transform panel will reveal additional options. In addition to being able to set the X and Y coordinates of a shape, along with its width (W) and height (H), for which you can link or unlink constrain width and height proportions, there are additional features. Refer to Figure 2-80.

These include setting the angle of rotation and setting the angle of shear. Refer to Figure 2-81 and Figure 2-82.
Figure 2-81

Transform panel Rotate Path menu options

Figure 2-82

Transform panel Shear Path menu options

From both the Properties panel and the Transform menu, you can flip horizontally and flip vertically. Refer to Figure 2-83 and Figure 2-85.
Figure 2-83

Properties panel options for flipping a path horizontally or vertically

Scale corners can also be enabled to scale corners of the radii proportionately. Currently, the setting is disabled. Refer to Figure 2-84.
Figure 2-84

Transform and Properties panels options for Scale Corners and Scale Strokes & Effects

In Chapter 3, we’ll compare the Transform panel to some actual tools for rotation, scaling, shearing, and free transforming.

Note

Currently, in the menu, the transform is set to Transform Both for object (path) and pattern. However, in Chapter 7 we’ll look at that option again. Refer to Figure 2-85.

Figure 2-85

Transform panel and its menu with additional transform options

You can use my file, path_control_practice.ai, if you need some paths to experiment with.

Shape Tools (Rectangle, Rounded Rectangle, Ellipse, etc.)

If we compare Photoshop tools to the Illustrator tools, you will see Illustrator also has several shape tools you can use to create rectangles, ellipses, and polygons. However, how these shapes are divided up is slightly different. And it appears that Illustrator has a few additional options. Refer to Figure 2-86.
Figure 2-86

Photoshop Shape tools in its Tools panel

Many of these tools and their options I have discussed before in previous books, and many of the key commands that you used in Photoshop are similar in Illustrator. However, I will review a few key points in this section, as they relate to this book. Refer to Figure 2-87.

Figure 2-87. Illustrator Shape tools in the Toolbars panel

For each tool, once selected, you can click on the Artboard to enter its dialog box. Subsequently, you can use, either separately or in combination, the Control, Properties, and Transform panels to control various options and properties of each shape. Like the path created with the Pen tool, you can set the fill and stroke colors using the Toolbars panel as well as the Color Picker dialog box when you double-click on the fill or stroke. Refer to Figure 2-88.
Figure 2-88

Use the Toolbars panel Color Picker dialog box to set fill and stroke colors

Select a color and click OK to exit.

Note

The settings I am using in the following Shape dialog boxes are in inches because I set my rulers (right-click) to this unit after I chose View ➤ Rulers ➤ Show Rulers. Refer to Figure 2-89.

Figure 2-89

Right-click on one of your rulers so that you can set the increments to inches, if it is not already set

Rectangle Tool (M)

To create a rectangle, you can either

  • drag out a shape on the Artboard;

  • hold down the Shift key as you drag if you want to create a square;

  • press Alt/Option + Shift to drag the rectangle or in this case square from its center point; or

  • click somewhere on the Artboard with the tool to enter the rectangle dialog box for the width and height. Then, choose with the link whether or not to constrain the width and height proportions. Click OK to commit. Refer to Figure 2-90.

Figure 2-90

Rectangle tool, dialog box with settings, and various created rectangles

The Control panel and the Properties panel both contain Transform panel settings, so you can use them to edit the Rectangle’s properties further. Note that you can also adjust the rounding of the corners by dragging on the live corner widgets. Refer to Figure 2-91.
Figure 2-91

Rounded rectangle created by dragging on corner widgets

Control Panel Options

In the Control panel, you will find many of the same settings for fill color, stroke color, stroke weight, variable-width profile, brush definition, opacity, and graphic style. These are the same as when you used the Selection tool to select a path. However, there are a few differences. Refer to Figure 2-92.
Figure 2-92

Control panel settings for Rectangle tool and most Shape tools

After the Recolor Artwork and Alignment sections is an area specifically for shapes. Clicking on the name “Shape” will reveal more options. Refer to Figure 2-93.
Figure 2-93

Control panel settings for Rectangle tool and most Shape tools and then specific Shape Properties options for rectangles

Shape properties: A rectangle can be edited further for the width, height, and constrain proportions option. You can set a rectangle angle (0°–360°) as well as the corner type and corner radius of each side collectively, or separately when you unlink the corner radius values. Refer to Figure 2-94.
Figure 2-94

Additional shape properties options for rectangles

Unchecking the link will allow you to round all four corners and add a different corner type to each side. Refer to Figure 2-95.
Figure 2-95

Adjusting the Corner Type options for rectangles and then resetting the sides

To reset all sides, click and choose one of the round corner type options in the Control panel and set the corner radius to make it all uniform. Then click on the link to link the radii for all corners.

Transform: When you click on the name, it shows the rest of the Transform panel, allowing you to set a reference point, X, Y, width, and height, and to indicate whether to maintain proportions. You can also set options for rotate, shear, and Scale Corners and Scale Strokes & Effects. Currently those options are disabled. Refer to Figure 2-96.
Figure 2-96

In the Control panel use the Transform options to rotate and shear a rectangle

Choosing the shear angle option in the panel will turn the rectangle into a path, and you may not have the additional rectangle options available anymore. Refer to Figure 2-97.
Figure 2-97

Upon shearing a rectangle, shape properties are lost

Note

For information on the Isolate, Selected Object, and Select Similar Objects features, as well as editing similar shapes together, see my notes on these options in the Selection tool section earlier. Refer to Figure 2-98.

Figure 2-98

Additional options in the Control panel for all shapes

Remember, with all shapes you can use the Selection or Direct Selection tools to select the shape or points of the shape if you want to edit the path further, such as to move, scale, or rotate, using the bounding box handles. To create copies of a shape, you can select a shape with the Selection tool and Alt/Option-drag to create a copy. Refer to Figure 2-99.
Figure 2-99

Use the Selection or Direct Selection tools to scale the entire path or points on a path while the shape is selected

Note

Rectangles can also be rotated horizontally and vertically using the Properties panel, though if they are not on an angle, you will not notice the rotation. Refer to Figure 2-80.

Rounded Rectangle Tool

To create a rounded rectangle, you can either

  • drag out a shape on the artboard;

  • hold down the Shift key as you drag if you want to create a rounded square;

  • press Alt/Option + Shift to drag the rounded rectangle or square from its center point; or

  • click somewhere on the Artboard with the tool to enter the Rounded Rectangle dialog box for the width and height. Then, choose with the link whether or not to constrain the width and height proportions, and set the corner radius. Click OK to commit. Refer to Figure 2-100.

Figure 2-100

Rounded Rectangle tool, dialog box with settings, and various created rounded rectangles

Control Panel Options

The Control, Properties, and Transform panels have the same settings as the Rectangle tool, so you can refer to that section if you need more details.

Ellipse Tool (L)

To create an ellipse, you can either

  • drag out a shape on the Artboard;

  • hold down the Shift key as you drag if you want to create a circle;

  • press Alt/Option + Shift to drag the circle from its center point; or

  • click somewhere on the Artboard with the tool to enter the Ellipse dialog box to set the width and height. Then, choose with the link whether or not to constrain the width and height proportions. Click OK to commit. Refer to Figure 2-101.

Figure 2-101

Ellipse tool, dialog box with settings, and various created ellipses

Control Panel Options

In the Control panel and Properties panel you will find properties for the ellipse similar to those for the Rectangle tool, so you can refer to that section. However, I will point out the key differences for Shape and Transform properties as seen in the Control panel when you click on the name “Shape.” Refer to Figure 2-102.
Figure 2-102

Additional Control panel settings for the selected ellipse

Shape Properties: These allow you to edit further the width, height, and constrain proportions items. You can set an ellipse angle (0°–360°) as well as set start pie angle, constrain pie angles, end pie angle, and invert pie options. Refer to Figure 2-103.
Figure 2-103

Shape properties options for the ellipse and the option to turn the ellipse into a pie by adjusting the start/end pie angle

You can use the handles on the ellipse to adjust the pie angle radius manually.

Transform: When you click on the name it shows the rest of the Transform panel, allowing you to rotate, shear, and set the options to Scale Corners and Scale Strokes & Effects. Currently, those options are disabled. Refer to Figure 2-104.
Figure 2-104

Additional Transform panel options

Polygon Tool

This is the same as using the Polygon tool and Triangle tool in Photoshop.

To create a polygon, you can either

  • drag out a shape on the Artboard and rotate it at the same time. While dragging out the polygon you can use your up and down arrow keys to add or remove sides from the polygon;

  • hold down the Shift key as you drag if you want to create an equal-sided polygon with the lower face horizontal and no rotation;

  • press Alt/Option + Shift to drag the polygon from its center point; or

  • click somewhere on the Artboard with the tool to enter the Polygon dialog box to set the radius and sides (3–1000). Click OK to commit. Refer to Figure 2-105.

Figure 2-105

Polygon tool, dialog box with settings, and various created polygons when using the up and down arrow keys on the keyboard

Afterward, if you want to increase or decrease the sides, you can use the diamond slider on the side of the bounding box. When you hover over the diamond the cursor will change, and you can drag the slider up (decrease sides) or down (increase sides). You can also adjust the rounding of the corners by dragging on the live corner widget. Refer to Figure 2-106.
Figure 2-106

Use the slider beside the selected polygon to add or remove sides, or the live corner widget to round the corners

Control Panel Options

In the Control panel and Properties panel you will find properties similar to those for the Rectangle tool, so you can refer to that section. However, I will point out the key differences for the Shape and Transform properties, as seen in the Control panel when you click on the name “Shape.”

Shape properties: A polygon can be edited further with the Polygon Side Count option by using the slider (3–20) or by typing a number into the text box (3–1000). You can set a polygon angle (0°–360°), as well as the corner type and corner radius of all sides collectively. You can then adjust the Radius and Side Length settings by either typing in a number or using the up and down arrow keys on the keyboard. Refer to Figure 2-107.
Figure 2-107

Shape properties options for the polygon

Transform: These options appear in the Control panel like other paths and shapes. You can click on either the X or the Y coordinate to access additional transform options, which will allow you to rotate, shear, and set the options to Scale Corner and Scale Strokes & Effects. Currently, those options are disabled. Refer to Figure 2-108.
Figure 2-108

In the Control panel there are additional transform options

Tip

Use the Properties panel for easy access to settings for rotating or flipping your polygon vertically or horizontally. Also, use the Selection tool when you want to scale a disproportionate polygon. Refer to Figure 2-109.

Figure 2-109

Use the Properties panel to rotate and flip the polygon and the Selection tool when you want to scale the selected polygon

Star Tool

This is the same as the Polygon tool in Photoshop. However, in Illustrator it is a separate tool where you only focus on star creation. Refer to Figure 2-110.
Figure 2-110

Toolbars panel Star tool

To create a star, you can either

  • drag out a shape on the Artboard and rotate it at the same time. While dragging out the star you can use the up and down arrow keys to add or remove points from the star. Refer to Figure 2-111;

Figure 2-111

Various Star with multiple points that can be added as you drag on the star with your up and down arrow keys on your keyboard

  • hold down the Shift key as you drag if you want to create an equal-sided star with no rotation;

  • press Alt/Option + Shift to drag the star from its center point. You can also hold down the Ctrl/CMD key if you want a pointier star;

  • press Ctrl/CMD + Alt/Option + Shift + Drag, which will reset the star’s radius. Refer to Figure 2-112; or

Figure 2-112

Make a pointy star or reset the star using additional keys on the keyboard while dragging out the shape

  • Or click somewhere on the Artboard with the tool to enter the Star dialog box for Radius 1, Radius 2, and Points (3–1000). Click OK to commit. Refer to Figure 2-113.

Figure 2-113

Star tool dialog box

Control Panel Options

Shape properties: No additional shape properties are found in the Control, Properties, or Transform panels, and Illustrator regards the Star as a path. Refer to Figure 2-114.
Figure 2-114

The star is a path, so there are no shape properties

Transform: Using the Control panel, you can click on either the X or the Y coordinate to access additional transform options, which will allow you to rotate, shear, and set the options to Scale Corners and Scale Strokes & Effects. Currently, those options are disabled. Refer to Figure 2-115.
Figure 2-115

In the Control panel, there are additional transform options when X or Y is selected

However, you can modify the end points of a star using the Direct Selection tool when you drag a rectangular marquee around the star and then use the Control panel when it changes to make the live corner radius rounded for the points, or you can change the other corner, radius, and rounding options. Refer to Figure 2-116.
Figure 2-116

Use the Direct Selection tool and Control panel to round the edges of the star

Note

You can use the live corner widgets as well to round the star as you drag in or out.

The following tools I regard as more specialty tools for adding accents to your images.

Flare Tool

The Flare tool creates a type of lens flare graphic on your image. That consists of lines and circles in various states of gradients and transparencies. I find the best way to use this tool is to click on the Artboard first and then enter the Flare Tool Options dialog box. Refer to Figure 2-117.
Figure 2-117

Flare tool and its options dialog box

With the preview check enabled, you can set such things as the following:

Center: Diameter in points, Opacity: 0%–100%, and Brightness: 0%–100%.Halo: Growth: 0%–300%, and Fuzziness: 0%–100%.

Then, enable or disable Rays, which are lines, and set the values for Number: 0–50, Longest: 0%–1000%, and Fuzziness: 0%–100%.

Lastly, you can enable or disable the Rings of additional circles and set the Path in points, Number: 0–50, Size of largest circles in ring: 0%–250%, and the Direction: 0°–359°. Then click OK. Refer to Figure 2-117.

If you need to reset, you can hold down the Alt/Option key and click the Cancel/Reset button, before clicking OK, to see the default settings. Refer to Figure 2-118.
Figure 2-118

Hold down the Alt/Option key to access the Reset button in the dialog box

Lens flares are best viewed on a colored background. Refer to Figure 2-119.
Figure 2-119

Flare on a blue background

While, at this moment, you may not see much of a use for a lens flare, you can use some of the gradients from them and store them in your Swatches panel for later use. We will look at gradients in more detail in Chapter 8.

Lens Flare Properties

To access the overall flare opacity and gradient type, you can select the flare with your Selection tool, and the Control panel will allow you to alter the opacity, recolor artwork, and edit the gradient using the Gradient tool. Refer to Figure 2-120.
Figure 2-120

Control panel settings for the selected lens flare

For additional Control panel settings and alignments, you can refer to the Selection tool’s Control panel options. Refer to Figure 2-121.
Figure 2-121

Control panel settings for the selected lens flare

Line Segment Tool ()

This tool is similar to the Line tool in Photoshop. This tool creates a single line segment, unlike the Pen tool, which is used to create and connect multiple segments.

To create a line, you can either

  • drag out a line on the Artboard, while rotating it at the same time, and release the mouse;

  • hold down the Shift key while dragging when you want the line to be horizontal, vertical, or at a 45° angle, just like when you used the Pen tool;

  • press Alt/Option-drag when you want to scale the line out from its center. Refer to Figure 2-122; or

Figure 2-122

Line Segment tool and various lines drawn on the Artboard

  • click on the Artboard, with the tool selected, if you want to enter the Line Segment Tool Options dialog box. Here, you can set the length of the line, the angle (0°–360°), and whether to add a fill to the line. By default, this setting is disabled, as a single straight line would not have a visible fill. Click OK to commit. Refer to Figure 2-123.

Figure 2-123

Line Segment Tool Options dialog box

Control Panel Options

You can set your line properties using the Control, Properties, or Transform panels. Most settings are the same as those for the Rectangle tool so you can refer to that section for more details. However, I will point out the key differences for shape and transform properties, as seen in the Control panel when you click on the name “Shape.”

Shape Properties: You can set the line length and angle. Refer to Figure 2-124.
Figure 2-124

Control panel line shape properties options

Transform: You can click on either the X or Y coordinate to access additional transform options, which will allow you to rotate, shear, and set the options to Scale Corners and Scale Strokes & Effects. Currently, those options are disabled. Refer to Figure 2-125.
Figure 2-125

Additional transform options when X or Y is selected

This tool is useful for grids and rows.

Note

Later in Chapter 5 I will point out how you can add arrowheads to lines using the Stroke panel.

Arc Tool

This tool is similar to the Illustrator Line Segment tool except that it allows you to create a single arc, unlike the Pen tool, which is used to create and connect multiple segments.

To create an arc, you can either

  • drag out an arc on the Artboard, rotate it at the same time, and release the mouse, and the arc is on the Artboard;

  • hold down the Shift key while dragging when you want the arc to flip on the horizontal or vertical angle and the arc to be symmetrical;

  • press Alt/Option-drag when you want to scale the arc out from the center as you rotate. Refer to Figure 2-126; or

Figure 2-126

Arc tool and various arcs drawn on the Artboard

  • click on the Artboard, with the Arc tool selected, if you want to enter the Arc Segment Tool Options dialog box. Here, you can set the length of the arc’s X-axis and Y-axis, and the reference point of where the arc will start upon dragging. Other additional settings include:

    • Type: Open or Closed path

    • Base along: X-axis or Y-axis

    • Slope: whether it is more concave or convex. Range is (-100,0,100).

    • Whether the arc should be filled with the current fill color in the Toolbars panel. By default, this setting is disabled as an arc line would not have a visible fill. Refer to Figure 2-127.

Figure 2-127

Arc Segment Tool Options dialog box

Click OK to Commit.

Tip

With the Arc tool, you can double-click on the tool in the Toolbars panel to see a preview window. This preview does not appear when you click with the tool on the Artboard. Refer to Figure 2-128.

Figure 2-128

Additional preview option in the Arc Segment Tool Options dialog box

Control Panel Options

No additional shape properties are found in the Control, Properties, or Transform panels, as the arc is regarded as a path. However, you can use the Control, Properties, or Transform panels to adjust basic settings, like when you created a path with the Pen tool and selected the path with the Selection tool. Refer to Figure 2-129.
Figure 2-129

Additional transform options when X or Y is selected for the selected path

This tool is useful for creating grass, fur, or hair.

Spiral Tool

The Spiral tool is like the Arc tool except that it connects several arcs together to create a spiral snail shape.

To create a spiral, you can either:

  • drag out the spiral on the Artboard, rotate it at the same time, and release the mouse, and the arc is on the Artboard;

  • hold down the Shift key as you drag when you want the line to be symmetrical, on the horizontal plane, and with rotation constrained;

  • press Alt/Option-drag when you want a more simplified arc;

  • press Ctrl/CMD-drag out for a single arc segment. Refer to Figure 2-130;

Figure 2-130

Spiral tool and a spiral on the Artboard that while dragging can be adjusted with the up and down arrow keys on the keyboard

  • as you drag, use the up and down arrow keys when you want to increase or decrease the number of segments; or

  • click on the Artboard to enter the Spiral dialog box and enter a Radius; Decay Rate: (5%–150%) the default is 80%; number of segments: 2–1000; and the style of either clockwise or counterclockwise. Click OK to commit. Refer to Figure 2-131.

Figure 2-131

Spiral tool dialog box

Control Panel Options

Like the arc, no additional shape properties are found in the Control, Properties, or Transform panels as the spiral is regarded as a path. However, you can use the Control, Properties, or Transform panels to adjust basic settings, like when you created a path with the Pen tool and selected the path with the Selection tool.

This tool is good for creating snail shells or the stylized idea of wind or steam and is useful for text on a path, which we will see in Chapter 10.

Rectangular Grid Tool

The Rectangular Grid tool creates a series of lines and arranges them in a grid-like pattern. To create a grid, you can either:

  • drag out the grid on the Artboard, release the mouse, and the grid is on the Artboard;

  • hold down the Shift key while dragging when you want the lines to be symmetrical and evenly spaced;

  • press Alt/Option + Shift + Drag when you want to drag out the grid from its center. Refer to Figure 2-132; or

Figure 2-132

Rectangular Grid tool and a Rectangular Grid on the artboard

  • click on the Artboard with the tool and enter the Rectangular Grid Tool Options panel. You can set the default size for width and height and the reference point from where the rectangle is dragged. You can also set the number of horizontal dividers (0–999) with skew setting from bottom to top (-500,0, 500%), and vertical dividers (0–999) with the skew setting from left to right (-500,0,500%). Refer to Figure 2-133.

Figure 2-133

Rectangular Grid Tool Options dialog box next to a selected rectangular grid with live corner widgets

Enable Use Outside Rectangle As Frame when you want a border around the grid and Fill Grid if you want the current fill in the Toolbars panel inside, In this case it is disabled and the fill is set to none. Click OK to commit. Refer to Figure 2-133.

Control Panel Options

No additional shape properties are found in the Control, Properties, or Transform panels. In this case a grid is considered a grouped shape. However, you can use the Control, Properties, or Transform panels to adjust basic settings, like when you created a path with the Pen tool and selected the path with the Selection tool. Refer to Figure 2-134.
Figure 2-134

The rectangular grid is considered a group object

You can select the whole grid using the Selection tool, select a line in the grid using the Group Selection tool, or a point on a line using the Direct Selection tool. Refer to Figure 2-135.
Figure 2-135

Parts of grids can be modified with the Selection tool, Direct Selection tool, and Group Selection tool

You will see an example of the Rectangle Grid tool being used in Chapter 13 to add perspective to a building to give the effect of windows on skyscrapers.

Polar Grid Tool

The last shape tool in Illustrator is the Polar Grid tool. It creates a series of lines and circles and arranges them in a grid-like spider-web pattern.

To create a polar grid, you can either

  • drag out the grid on the Artboard and release the mouse;

  • hold down the Shift key while dragging when you want the circle to be symmetrical and the lines evenly spaced;

  • press Alt/Option + Shift + Drag when you want to drag out the grid from the center. Refer to Figure 2-136; or

Figure 2-136

Polar Grid tool and a Polar Grid on the artboard

  • click on the Artboard with the tool and enter the Polar Grid tool options. You can set a default size for width and height, and the reference point from which the polar grid is to be dragged. Number of concentric dividers can be set (0–999), with the Skew setting from In to Out (-500,0,500%), as can the number of radial dividers (0–999), with the Skew setting from Bottom to Top (-500,0,500%). Refer to Figure 2-137.

Figure 2-137

Polar Grid Tool Options dialog box

Enable Create Compound Path From Ellipses when you enable Fill Grid, using the current fill in the Toolbars. In this case it is disabled, and the fill is set to none. However, those checkbox options together would create a target-like pattern if there were a current fill set in the Toolbars panel. Click OK to commit. Refer to Figure 2-137 and Figure 2-138.
Figure 2-138

Polar Grid with a setting of Create Compound Path From Ellipses and Fill Grid, and the other with just the setting of Fill Grid

Control Panel Options

No additional shape properties are found in the Control, Properties, or Transform panels. Like the rectangular grid, this is considered a group shape, and you can refer to the Rectangular Grid tool for more details.

Tip

If you are dragging out a shape with one of the Shape tools, make sure to experiment by holding down the tilde key (~). Rather than Alt/Option-dragging to make copies, this creates multiple shapes all at once and rotates and scales copies at the same time. Refer to Figure 2-139.

Figure 2-139

Use the tilde key when dragging out a shape to create a unique pattern

Tips for Practicing with the Artboard and Layers Panel

To view my shape examples, make sure to look at the file shape_practice.ai. I put all the shapes on one layer and expanded the size of the Artboard using the Artboard tool. Refer to Figure 2-140.
Figure 2-140

The Artboard tool and selected Artboard

We will practice using this tool in the next project, and I will explain how to expand the Artboard.

However, as you practice a shape you may want to use the Layers panel to create multiple layers for practice by clicking the Create New Layer button. Then lock and hide the visibility of a completed layer so you have a clean layer to work with. Refer to Figure 2-141.
Figure 2-141

Layers panel with shapes on separate layers

We will be using layers in the next project to keep our shapes organized and neat.

Align Panel to Align Shapes

As you create one or more shapes, you can rely on the Align panel to line up the shapes. The Align panel, as you have seen, will often be present in either the Control or the Properties panel or can be accessed separately using the Window menu. Refer to Figure 2-142.
Figure 2-142

Align panel and its menu

As mentioned, when two or more objects are Shift + Click selected, you can use the Align panel to align objects horizontally on their left, center, and right, or vertically on their top, center, and bottom. Or you can distribute three or more objects evenly either vertically: top, center, or bottom, or horizontally: left, center, or right. Refer to Figure 2-143.
Figure 2-143

Shapes arranged using the Align panel

You can also adjust the distribute spacing vertically or horizontally by a set space amount with a key object and align to Artboard, selection, or key object. Refer to Figure 2-142.

Use the Pathfinder to Edit Shapes

In Chapter 3, in Photoshop, you used the Properties panel and Pathfinder options to edit shapes. In this chapter, you can use the Pathfinder panel as well.

However, to alter the order of your shapes or path within a layer or sub-layers, before using the Pathfinder panel, select a single shape or path with your Selection tool and choose from the main menu: Object ➤ Arrange ➤

  • Bring to Front: Shift + Ctrl/CMD + ]

  • Bring Forward: Ctrl/CMD + ]

  • Send Backward: Ctrl/CMD + [

  • Send to Back: Shift + Ctrl/CMD + [

Refer to Figure 2-144.
Figure 2-144

Use the Object menu to arrange shapes on a selected layer and its sub-layers. Use the Layers panel to move objects from one layer to another

Knowing these key combinations is very useful when you want to move selected shapes above or below each other on a layer, without having to use the Object menu each time. Note, however, that this only works within the layer and sub-layer. In situations where you must move an item above or below onto another layer, while the item is selected use the Layers panel to drag the selected item—represented by a colored square on the right—to a new layer.

Now go to Window ➤ Pathfinder panel, which you can use to edit and build your shapes. Refer to Figure 2-145.
Figure 2-145

Pathfinder panel and its menu

When two shapes or paths are Shift + Click selected with the Selection tool, you can access the Pathfinder panel to help you build or modify the shapes, to enhance distortions, and to cut out various shapes when you click on the different buttons. Refer to Figure 2-146.
Figure 2-146

Two shapes, and then they are Shift + Click selected with the Selection tool

Shape modes (Unite, Minus Front, Intersect, and Exclude) can be kept editable as compound shapes when you hold down the Alt/Option key as you click on a button in the panel. Refer to Figure 2-147.
Figure 2-147

Example of the Pathfinder panel shape modes and the Expand button

And you only commit when you click the Expand button in the Pathfinder panel.

However, the Pathfinders (Divide, Trim, Merge, Crop, Outline, and Minus Back), when clicked on, are destructive right away and cannot be saved as compound shapes. Refer to Figure 2-148.
Figure 2-148

Examples of the Pathfinder panel options. Merge behaves differently when the colors are the same versus different

You can see these Pathfinder examples in more detail in the file two_blends.ai, and see Chapter 10 for an example when working with type.

Note

To create live, editable shapes you can use the Effect ➤ Pathfinder menu. See Chapter 11 for more details on that topic. For certain Pathfinder settings, this is a better and less destructive option.

Make sure, at this point, to save any of your practice projects that you have created so far.

Project: Blowing in the Wind, Part 1

For this part of the chapter, I am going to show you how to create paths or copy paths that can be used to create the start of a scene. In the project and in some of the following chapters, we are going to build an image of a young girl who is standing on a hill overlooking a farm and blowing dandelion seeds that are being moved by the wind. Refer to Figure 2-149.
Figure 2-149

An illustration of a young girl at a farm blowing dandelion seeds over a field

To start, create a practice file by going to File ➤ New and creating a preset, as you did in Chapter 1.

Or, if you want to follow along, you can save a copy of my file Landscape1_start.ai.

Setting the Size of the Artboard

In your own project, go to File ➤ New ➤ Print ➤ Letter. Enter the width and height dimensions, such as 8.5x11 inches, portrait, and enter the other preset attributes based on the preset chosen. Click the Create button. You are presented with a file in the set size. Refer to Figure 2-150 and Figure 2-151.
Figure 2-150

Preset settings in New Document dialog box

Figure 2-151

Blank document created from preset settings

Note

At this point, you should make sure that you View ➤ Rulers ➤ Show Rulers (Ctrl/CMD+R). They should be set to the increments of inches if you set this earlier when you created your document. Also, make sure that your View ➤ Smart Guides (Ctrl/CMD+U) are enabled as well. This will assist us as we add guides and shapes. Refer to Figure 2-152.

Figure 2-152

Rulers and Smart Guides should be enabled

However, this set size of Artboard is in no way permanent. As you draw a landscape on your Artboard using your Pen tool or Rectangle tool, you may discover that you need more room, or you may realize that a landscape orientation was really what you wanted. Refer to Figure 2-153.
Figure 2-153

Using the Rectangle tool to draw the ground and sky and then realizing the Artboard is not wide enough

As you work on your project you can alter the Artboard’s size and orientation very easily using the Toolbars Artboard tool (Shift+ O). Refer to Figure 2-154.
Figure 2-154

Toolbars panel Artboard tool

Click on the tool to enter Artboard Editing mode. Refer to Figure 2-155.
Figure 2-155

Artboard Editing mode

In this case, you can use either the Control panel or Properties panel to change your Artboard settings, or use the bounding box handles around the Artboard to move or increase or decrease the size of the Artboard. Refer to Figure 2-156.
Figure 2-156

The Control and Properties panels while in Artboard Editing mode

In this case, I’ll use the Control panel to alter the size.

Initially, in the new file that I created, the Artboard would be set to Letter and Portrait. Refer to Figure 2-157.
Figure 2-157

Control panel with Artboard settings

However, to avoid repositioning artwork, I set it to Landscape. I move my reference point from center to lower left. You can see what would happen if I did not do that. Refer to Figure 2-158.
Figure 2-158

Setting the Artboard to Landscape but with an incorrect Artboard reference point

Note

If you made this mistake at this point, you can Edit ➤ Undo (Ctrl/CMD+Z) and try again.

The lower left positioning as landscape is good. Refer to Figure 2-159.
Figure 2-159

Setting the Artboard to Landscape but with a correct Artboard reference point in the lower left

However, if you want to have a wide landscape, you need to extend the Artboard a bit more on the right; the preset of Letter is not going to work.

I decide to use a Legal size of 8.5x14, so from the Select Preset dropdown menu I choose that setting, and you can see that now in the Control panel and on the Artboard. Refer to Figure 2-160.
Figure 2-160

Setting the preset to Legal for the Artboard. Settings are W: 14 in and H: 8.5 in because it is landscape

There are many other preset sizes that you could choose from, depending on your project, whether it be for print or the web. You can even use the bounding box handles or Control panel width (W) and height (H) text boxes to set a custom size and constrain proportions. However, I find that if your eventual project is for print, it’s always good before you start to familiarize yourself with some of the different custom paper sizes and learn whether you can print those dimensions with your home printer or, for larger sizes, email them to your local print house. Because I am working with US measurements, common sizes like Letter 8.5 in x 11 in, Legal 8.5 in x 14 in, or Tabloid 11 in x 17 in are good dimensions to memorize. The preset dimensions that you use will vary from country to country, and all depend on your layout. Refer to Figure 2-161.
Figure 2-161

Additional Artboard mode settings

Note

If you are working with multiple Artboards, you can use other buttons in the Control panel that appear to add, delete, move, or copy Artboards, as well as additional Artboard options. You can also arrange all Artboards and align them.

However, in this case we are only using one Artboard, so to commit your settings you then either click Exit in the Properties panel or click on the Hand tool in your Toolbars panel. Refer to Figure 2-162.
Figure 2-162

Exiting Artboard mode using the Properties panel or the Hand tool

I then save the document at this point as Landscape1_start.ai. In your case you can save the file with your initials on it. Or refer to my copy of the file if you want to follow along.

Now, look at the Layers panel to see how I created the next steps. In this case, my Layers panel has a base Layer 1. Refer to Figure 2-163.
Figure 2-163

Layers panel with a single Layer 1

I double-clicked beside the layer name to enter the new Layer Options dialog box to call it Background. The Layer Options dialog box allows you to, besides set a name, set its layer color. You can change the layer color any time if you find that it is conflicting with your art as you draw paths on the layer. You can turn the layer into a template, as we will see shortly. Lock the layer. Show or make the layer visible. Print the layer, preview or dim the images on the layer to a set percentage. Leave the layer at the default settings of Show, Print, and Preview enabled and click OK to exit. Refer to Figure 2-164.
Figure 2-164

Use the Layer Options dialog box to rename the layer and view its options

Now, create a new layer above the Background layer by clicking the Create New Layer button. Refer to Figure 2-165.
Figure 2-165

Create a new layer above the Background layer

This time just double-click on the Layer 2 name to rename it; I called it Guides. Refer to Figure 2-166.
Figure 2-166

Rename the layer Guides and then click beside the name to confirm it

Then, click outside the text area to the right to confirm the name.

On this layer, because my rulers are active, I drag down two horizontal guides from the rulers using my Selection tool.

The upper coordinate is at Y: 2.83 in, and the lower is at Y: 5.6 in. Refer to Figure 2-167.
Figure 2-167

Use the ruler to drag down two horizontal guides

You can make sure this is correct by selecting a guide with the Selection tool and checking the Y value in the Control panel. If not correct, you can type this into the text box. Refer to Figure 2-168.
Figure 2-168

Use your Control panel while a guide is selected to adjust your settings

Note

In this example your X value, width (W) value, and height (H) value may be different than mine, but they do not need to be the same, as only the Y value is needed.

I set these guides to allow me to divide the height of the landscape into thirds so I can figure out roughly where I want the horizon line, sky, and mountains to be placed as I draw them. Dividing 8.5 by 3 gives me roughly the numbers of 2.83 and 5.6. I could also add vertical guidelines for placement, but for me this is more abstract, so knowing that I have the boundary of 14 in on the Artboard is good for now. To keep the guides in place, I then lock the Guides layer by clicking next to the layer’s visibility eye. Then I select the Background layer again. Refer to Figure 2-169.
Figure 2-169

Use the Layers panel to lock the Guides layer

Now, on the Background layer, we need to add some ground and sky. In your case this area, as you build this layer, might be currently blank, or maybe you have dragged out two rectangles to represent the sky and the ground. Refer to Figure 2-170.
Figure 2-170

Use your Rectangle tool to drag out two rectangles for the ground and sky, if not done already

I first dragged out the sky to cover the page, W: 14 in and H: 8.5 in, as you can see in the Properties panel. I used the setting X: 7 in and Y: 4.25 in from reference point center. Refer to Figure 2-171.
Figure 2-171

Use the Properties panel to set the X, Y, W, and H for your rectangle

I set the fill color, using the Control panel, to C=70, M=15, Y=0, K=0, and the stroke color to none. Refer to Figure 2-172.
Figure 2-172

Use the Control panel to set the fill and stroke colors for the sky, as seen in the Toolbars panel

Currently, in my Toolbars panel, the Drawing setting is set to Draw Normal, so that each new shape will draw on top of the other. Refer to Figure 2-173.
Figure 2-173

Make sure as you draw additional shapes that the Toolbars panel is set to Draw Normal

Make sure that your Toolbars panel is set to Draw Normal mode and not Draw Behind or Draw Inside.

Next, I will draw the ground area using my Rectangle tool again. Refer to Figure 2-174.
Figure 2-174

Use the Rectangle tool to draw the ground if you have not already done so

Note

If you have already drawn the ground and it is behind the blue sky, then just select the blue rectangle with your Selection tool and choose Object ➤ Arrange ➤ Send to Back.

Drag out a rectangle to the size of W:14 in, H:2.9 in, with the coordinates of X:7 in, Y:7.05 in, in the lower half of the picture. Refer to Figure 2-175.
Figure 2-175

Use the Properties panel to set the X, Y, W, and H for your rectangle for the ground

In your View menu, if your Smart Guides are on, the rectangle should snap to the guides.

Now, using the Control panel, color the ground with a fill of C=90, M=30, Y=95, K=30, and set the stroke color to be black with a 1 pt stroke weight. Refer to Figure 2-176 and Figure 2-177.
Figure 2-176

Use the Control panel to set the fill color for the ground

Figure 2-177

Use the Control panel to set the stroke color for the ground

The stroke gives us a light boundary line for the horizon.

At this point, while you are drawing the basic shapes, do not be concerned about realism in colors. Later, in Chapter 8, we will improve many of the colors using multiple gradients and transparencies. For now, working with solid colors is best.

Lock the Background layer for now and create another layer above it, Layer 3. Refer to Figure 2-178.
Figure 2-178

Lock the Background layer and create another layer above it

Working with Template Layers and Locked Layers

Now we need to add the mountains and foreground. You can draw them using the Pen tool, which can be practiced over a template layer or a locked layer, which I have created in the file mountains_foreground_trace.ai.

Save a copy if you want to follow along. Refer to Figure 2-179.
Figure 2-179

In the Layers panel, view the template layer

Template layers are useful when you have artwork or photo images (linked or embedded) that you want to practice tracing over with your Pen tool. If you have artwork on a specific layer that you want to make into a template layer, select the layer in the Layers panel and double-click on it. Enable the Template setting and click OK. Refer to Figure 2-180.
Figure 2-180

Layer Options dialog box with template settings

This automatically locks the layer in place. On a new blank layer, or Layer 3 when selected, you can begin to trace with the Pen tool using what you learned earlier in the chapter. Refer to Figure 2-181.
Figure 2-181

Pen tool

Select Layer 3. See my example of how I drew the first mountain closest to me. Refer to Figure 2-182.
Figure 2-182

Use the Pen tool to trace over the nearest mountain to create a path with points

While working with your Pen tool, make sure to set the fill to none and the stroke to a color you can easily see while you trace. I often use CMYK cyan with a stroke of 1 pt. You can do that before you start using your Control panel, or swap using the Toolbars panel or Swatches panel while you trace. Refer to Figure 2-183.
Figure 2-183

Change the stroke to an easy-to-see color before you use the Pen tool by clicking on a swatch color

In your case, you may have to later straighten and alter the locations of the points and paths using the Direct Selection tool. To do that, make sure to zoom in (Ctrl/CMD++) and use your Hand tool (spacebar) to move about without disrupting the path. Refer to Figure 2-184.
Figure 2-184

Use the Direct Selection tool to modify paths; your Zoom tool to get a closer view; and your hand tool to move about without disrupting the path

With some of the mountains' being behind the other, you may have to end off the path that is touching part of the opposite mountain, with some of it overlapping the foreground mountain. With photos that can be tricky to know where to stop. Refer to Figure 2-185.
Figure 2-185

Knowing where to stop the path can be tricky when it goes behind another part of the image

Because you are tracing over vector objects that I have already created, what you can do is double-click on the Template layer and uncheck the Template checkbox in the Layer Options dialog box. Then just enable Lock and click OK. Refer to Figure 2-186.
Figure 2-186

Reset your layer’s Layer Options so that you can easily view my paths to practice tracing

Now return to Layer 3 and select it. I also turned off the visibility for the Guides layer for the moment. Refer to Figure 2-187.
Figure 2-187

Return to Layer 3 to continue tracing

Then go to View ➤ Outline (Ctrl/CMD+Y). This puts you into a type of path view where you only see the outline of shapes. Refer to Figure 2-188.
Figure 2-188

Using Outline Mode allows you to see all the paths you need to trace

Now, continue with Layer 3 and use your Pen tool to trace the middle mountain, the mountain in the distance, and the foreground area. Refer to Figure 2-189 and Figure 2-190.
Figure 2-189

Use your Pen tool to trace the middle mountain

Figure 2-190

Use the Pen tool to trace the mountain on the right and the foreground area

Once you have completed tracing your shapes, go to View ➤ Preview (Ctrl/CMD+Y); you should see your new paths on Layer 3. You can see how that looks with the Mountains and Foreground layer’s visibility turned off. Refer to Figure 2-191.
Figure 2-191

Here are how the traced areas should appear with the cyan stroke and fill of none

Now I Shift + Click to select each path with the Selection tool and set the stroke color to Black using the Control panel. Refer to Figure 2-192.
Figure 2-192

Shift + Click to select each path and then use the Control panel to set the stroke to black

Click off the Artboard to deselect the paths. Refer to Figure 2-193.
Figure 2-193

How the paths appear as a black stroke

To help us color the paths quickly, we can turn back on the visibility of the Mountains and Foreground layer. But do not select that layer—remain on Layer 3. Refer to Figure 2-194.
Figure 2-194

Make sure you have your Mountains and Foreground layer visible and Layer 3 selected in the Layers panel

With the Selection tool, select the first mountain path on the left and, using the Eyedropper tool from your Toolbars panel, click on the dark green color. Refer to Figure 2-195.
Figure 2-195

Use the Eyedropper tool to sample colors from the locked layer below

This tool should pick up the attributes from the underlying layer and color the path with those current fill and stroke colors.

Now repeat those steps with the middle mountain. Select the mountain path and then click on the mid-green color with the Eyedropper tool so that it takes on its attributes. Refer to Figure 2-196.
Figure 2-196

Sample colors using the eyedropper tool for the middle mountain and mountain on the right when selected

Next, repeat those steps with the Selection tool on the mountain farthest away on the right with the light green and the foreground area in gray. Refer to Figure 2-198.

Tip:

If you need to check what current attributes your Eyedropper picks up, you can double-click on it in the Toolbars panel, or when the tool is selected in the Properties panel click on the Tool Options button. Refer to Figure 2-197.

Figure 2-197

Use the Properties panel to check the Eyedropper tool options

At this point, depending on the order in which you drew the mountains, you will notice that some are overlapping incorrectly. Refer to Figure 2-198.
Figure 2-198

The mountains are currently in the order they were traced, but they need to be behind one another

This is because, as mentioned earlier, Illustrator always draws the next path over the top of the previous path, as per the settings in the Toolbars panel. To correct the order of the middle and right-most mountain, first select the middle mountain with the Selection tool and choose Object ➤ Arrange ➤ Send to Back. Refer to Figure 2-199.
Figure 2-199

Correct the order for the selected middle mountain using the Object ➤ Arrange menu

Then, select the light green mountain on the right with the Selection tool and choose Object ➤ Arrange ➤ Send to Back. Refer to Figure 2-200.
Figure 2-200

Correct the order for the selected mountain on the right using the Object ➤ Arrange menu

The gray foreground in this case is fine where it is, but if it were below a layer then you could use Object ➤ Arrange ➤ Bring to Front to make sure it was the topmost shape, as we will do a few times later in the project.

Click outside the Artboard if you need to deselect your paths and Ctrl/CMD+- or Ctrl/CMD+0 if you need to zoom out to see the picture.

Using the Line Segment Tool

To finish our drawing of the mountains, let’s use the Line tool to trace over the lines. We can do that in View ➤ Outline mode. Select the Line Segment tool to draw over the lines while on Layer 3. Ctrl/CMD++ if you need to Zoom in for a closer look while using the Line Segment tool. Refer to Figure 2-201.
Figure 2-201

Use the Line Segment tool to create the lines in the field

With your Smart Guides active, you should easily be able to trace over the lines.

Continue to use the Line Segment tool over the next six lines, as it does not matter what kind of stroke or fill color they have. We will correct that later, as the lines are needed to create rows and at the same time a feeling of distance and perspective, and it’s OK if they go off the Artboard. In this case the lines were a black stroke with a stroke weight of 1 pt. Refer to Figure 2-202.
Figure 2-202

Shift + Click the lines and use the Control panel to set them to black and a stroke weight of 1 pt

Now, return to View ➤ Preview (Ctrl/CMD+Y).

Shift + Click on each of the seven lines with your Selection tool. While selected, set the stroke color in the Control panel to C=85, M=10, Y=100, K=10. Refer to Figure 2-203.
Figure 2-203

Shift+ Click the lines and use the Control panel to set them to a new color

Click off the Artboard to deselect the lines.

Now select, with the Selection tool, the closest line on the left and set the stroke weight to 6 pt using the Control panel. Refer to Figure 2-204.
Figure 2-204

Select each line and set to a new Stroke Weight

Then select each line one at a time and adjust the line’s stroke weight as follows. Refer to Figure 2-205.

  • Line 2 to 5 pt

  • Line 3 to 4 pt

  • Line 4 to 3 pt

  • Line 5 to 3 pt

  • Line 6 to 2 pt

  • Line 7 leave at 1 pt

Figure 2-205

The seven lines with their new stroke weights

This makes the lines look finer as they move into the distance.

Save your work at this point.

Copying and Pasting Between Documents

Now, while on Layer 3, make sure that the other two layers are locked. Refer to Figure 2-206.
Figure 2-206

Layers panel with Layer 3 selected

From the Select menu choose Select ➤ All (Ctrl/CMD+A). Refer to Figure 2-207.
Figure 2-207

Select all the paths

This selects all the paths on this layer. We can see this is so by the square icon on that layer in the Layers panel. Refer to Figure 2-208.
Figure 2-208

Layers panel with all the paths selected

Now, in the Main menu, go to Edit ➤ Copy (Ctrl/CMD+C) and return to your copy of the Landscape1_start.ai document.

Make sure that the Guides layer and Background layer are locked and then select Layer 3. Refer to Figure 2-209.
Figure 2-209

Back in the Landscape1_start document with Layer 3 selected

Now Edit ➤ Paste in Place (Shift+ Ctrl/CMD+V). Refer to Figure 2-210.
Figure 2-210

Use the Edit menu to paste the paths in place

This will work because both documents were the same size, so the mountains and foreground area should fit very closely to the guides. Refer to Figure 2-211.
Figure 2-211

The paths pasted into Layer 3

Now I will rename my Layer 3 “Mountains and Foreground.” Refer to Figure 2-212.
Figure 2-212

Rename Layer 3 in the Layers panel

Then I will lock that layer. Refer to Figure 2-213.
Figure 2-213

Lock the Mountains and Foreground layer, create a new Layer 4, and use the Ellipse tool dialog box

Using Ellipse Tool to Create a Sun

Now create a new layer in the Layers panel, Layer 4, above the Mountains and Foreground layer and select the Ellipse tool. Click on the Artboard to enter the Ellipse dialog box. Set the width to 2.2738 in and height to 1.8876 in. Click OK. Refer to Figure 2-213.

I colored the fill of the sun a CMYK yellow color using the Control panel and set the stroke to none. I moved it low on the horizon, partly going off the Artboard with my center registration point set at X: 13.4659 in and Y: 4.6059 in mark, which I set using my Properties panel. Refer to Figure 2-214.
Figure 2-214

Use the Control panel to set the color of the ellipse and the Properties panel to move it into place

Note

This is not a perfectly round sun as it is low on the horizon and would be more elliptical due to atmospheric distortion. Later in Chapter 8 we will add a gradient so that it appears more sun-like.

Tip

Another tool that you can use to create a sun would be the star tool with multiple points. Refer to Figure 2-215.

Figure 2-215

Toolbars Star tool

Now change the Layer 4 name to “Sun” (double-click on the name) and lock the layer. Refer to Figure 2-216.
Figure 2-216

Rename Layer 4 to “Sun” and lock the layer

Now the picture is taking shape. Refer to Figure 2-217.
Figure 2-217

How the landscape currently appears

Copying, Pasting, and Placing Grouped Paths

Now, I will copy some group paths of the girl that I created earlier and place that on its own layer to finish this part of the chapter.

Open girl_trace.ai. Refer to Figure 2-218.
Figure 2-218

The girl and her placement in the document in the Layers panel

As we progress through the book, I will go into more detail as to how shading, paths, and gradients were used to create this girl. But essentially, she started off as several photos that I placed on a locked layer. I traced over them in Illustrator with the Pen, Ellipse, and Line Segment tools and then used the Selection and Direct Selection tools to modify the points on the path while looking at the underlying photo. This was very similar to what we did with the mountains while using a template layer or a locked layer.

You can see her design is complex if you view it as an outline. Refer to Figure 2-219.
Figure 2-219

The girl in Outline mode

After I create the girl with the various tools, I drag a rectangular marquee around her with the Selection tool. Refer to Figure 2-220.
Figure 2-220

Select the girl with the Selection tool and group the paths

Then, from the menu I choose Object ➤ Group (Ctrl/CMD+G).

This keeps all the paths together so that I can move them as one unit. Refer to Figure 2-220.

While selected, you can go to Edit ➤ Copy (Ctrl/CMD+C).

Now return to your copy of the file Landscape1_start.ai and create a new Layer 5. Double-click on the layer and rename this layer “Girl.” Refer to Figure 2-221.
Figure 2-221

Create a new Layer 5 and rename the layer “Girl” in the Landscape1_start document

Now with this layer selected go to Edit ➤ Paste (Ctrl/CMD+V). Refer to Figure 2-222.
Figure 2-222

Paste the girl into the document

Use the Selection tool and the Properties panel to move the girl to the correct coordinates—X: 1.4813 in and Y: 5.2122 in from center reference point; in this case, there is no need to scale her. Refer to Figure 2-223.
Figure 2-223

Use the Selection tool and the Properties panel to set the girl at the correct X and Y coordinates

You can lock this Girl layer at this point. Refer to Figure 2-224.
Figure 2-224

Lock the Girl layer

Add Another Line to the Field

Lastly, I return to the Mountains and Foreground layer, unlock it, and drag out one more line with the Line Segment tool. I scale it in the Properties panel to X: 5.1594 Y:6.6971, W: 3.639 in, H: 2.1942 in and set the angle to 328.38°.

In the Control panel the stroke color is set to C=85, M=10, Y=100, K=10, and the stroke weight to 8 pt.

Refer to Figure 2-225.
Figure 2-225

Unlock the layer and draw with the Line Segment tool, set the stroke color, and use the Properties panel to set the X, Y, W, H, and angle rotation of the line

Then select the gray foreground with the Selection tool and choose Object ➤ Arrange ➤ Bring to Front so that the green line is behind the gray foreground, making it appear like the girl is on a high hill overlooking the fields. Refer to Figure 2-226.
Figure 2-226

Select the gray foreground and use the Object ➤ Arrange menu to move it above the new stroke

Then lock all the layers. Refer to Figure 2-227.
Figure 2-227

Lock all the layers in your Layers panel

Save your copy of the Landscape1_start.ai file with your initials and close any other open files at this point. You can see my final file Landscape1_1.ai to compare.

Summary

After working with these Pen and Shape tools we can see how basic distorts can be made to each shape or path using the Selection, Direct Selection, and Group Selection tools. You can also scale, rotate, and edit shapes or paths using the Control, Properties, Transform, Align, and Pathfinder panels. Then we saw how paths and shapes can be used to create the start of a landscape image. In the next chapter, we will work with a few more tools to modify distortions as we would with Free Transform tools in Photoshop.

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